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JOHN CABOT UNIVERSITY

COURSE CODE: "CMS/ITS 243"
COURSE NAME: "Cinematic Rome"
SEMESTER & YEAR: Summer Session II 2015
SYLLABUS

INSTRUCTOR: Andrea Bini
EMAIL: [email protected]
 HOURS: MTWTH 9:00 AM 10:45 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: This course carries 3 semester hours of credit.
OFFICE HOURS: by appointment
COURSE DESCRIPTION:
An analysis of the social, aesthetic, political, and rhetorical implications of cinematic representations of Rome, from silent films to the present. This course will evaluate and discuss ten primary films, along with excerpts from a number of others. We will consider five main topics: Images of Ancient Rome; Before and After World War II; "Americans" in Rome, and Rome in America; Fellini’s Rome; and Urban Angst, Roman Style. As the semester progresses, we will consider how Rome functions as a "character" in the movies, as well as how The Eternal City comprises the mise-en-scène. We will assess the artistic representations of Roman monuments and streetscapes on movie sets, as opposed to location shooting. Special attention will be given to memory construction, as well as the rhetoric of "places and spaces" (how the physical/symbolic setting influences us). In this course, students will visit cinematic landmarks in Rome and write about their experiences
SUMMARY OF COURSE CONTENT:
This course will evaluate and discuss ten primary films, along with excerpts from a number of others. We will consider five main topics:  Images of Ancient Rome; Before and After World War II; “Americans” in Rome, and Rome in America; Fellini’s Rome; and Urban Angst, Roman Style.  As the semester progresses, we will consider how Rome functions as a “character” in the movies, as well as how the Eternal City comprises the mise-en-scène. We will assess the artistic representations of Roman monuments and streetscapes on movie sets, as opposed to location shooting. Special attention will be given to memory construction, as well as the rhetoric of “places and spaces” (how the physical/symbolic setting influences us). In this course, students will visit cinematic landmarks in Rome as part of their research.
LEARNING OUTCOMES:

1.  Students will become familiar with critically acclaimed films that prominently feature Roman landmarks and streetscapes.

2.  Students will develop their film criticism skills, with special emphasis on analysis of the mise-en-scène (film setting), memory construction, and the rhetoric of "places and spaces" (how the physical/symbolic setting influences us).

3.  Students will consider cinema as an expression of national or international culture, aesthetics, values, and politics.

4.  Students will gain an appreciation for the Italian film industry, including the leading role of Cinecittà.

5.  Students will hone their descriptive, experiential, and analytical writing skills through assignments tailored to foster personal engagement with the Eternal City.
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Italian film in the light of neorealismMillicent MarcusPrinceton University Press, 1986.0691054894 PN1993.5.I88 M28 

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Oral PresentationAn in-class presentation, consisting in an analysis of one of the films screened in class. Presentations will be assigned at the start of the course, and will be carried out on a weekly basis. Depending on enrollment, students will work either on their own or in pairs.20%
PapersTwo papers, about 6 pages each, on topics related to the films and class discussions. Guidelines will be discussed in class. The papers must be written with close attention to the basics of argument construction, grammar, and spelling. Remember that the only way to achieve good textual analysis is to have the text before you (and/or to watch the film again). Content will count for 70% of the grade, form for 30%. A paper that has excellent ideas but exhibits poor organization or writing will NOT receive an A. Topics for papers will be announced and discussed in class, not via email or posted on the class website.30%
QuizzesThere will be 3-question/5min. quizzes at the beginning of classes. 10%
Final ExamA multiple choice Exam, plus some open questions about the films we saw and discussed in class.25%
Attendance/ParticipationAttendance is a crucial component of this course. "Participation" entails demonstrating that you have read and reflected on the assigned read, which is equally important to any full understanding of the subjects covered in this course. 15%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the cours
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
Attendance is required. Students may miss up to 3 class periods without grade penalty. If unexcused, 4 or 5 absences will result in an F grade for attendance. 6 or more absences will result in an F grade for the course.
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE
     

Week 1:          Postwar Rome

 

Jul 06              Mora, Carl J. “The Image of Ancient Rome in the Cinema” [http://www.publicacions.ub.es/bibliotecadigital/cinema/filmhistoria/Art.Mora.pdf.]Clips from: Gladiator [Ridley Scott, 2000]; Spartacus [Stanley Kubrick, 1960]; Cabiria [Giovanni Pastrone, 1914]; Quo Vadis [Mervyn LeRoy,1951)] Ben-Hur [William Wyler,1959]; Cleopatra [Joseph L. Mankiewicz,1963]; The Fall of the Roman Empire [Anthony Mann,1964];

 

Jul 07       Watch: Bicycle Thieves [Ladri di biciclette, De Sica 1948];
                 Read: Marcus on Bicycle Thieves;

 

Jul 08      Screening: The White Sheik [F.Fellini, 1952];

 

Jul 09      Watch: Roman Holidays [W.Wyler, 1953];
                Read: Bondanella on: The White Sheik (p. 79-89);

 

(Clips from: Un Americano a Roma [Steno, 1954]; Three Coins in the Fountain [Jean Negulesco, 1955]; When in Rome [Mark Steven Johnson, 2010]; To Rome With Love [Woody Allen, 2012].

 

Week 2:          The 1950 and the Economic Boom

 

Jul 13     Watch: A Difficult Life (Dino Risi, 1961);
               Read: R.Bodei, We, the Divided Ch. I (16-21), II (33-49), Bondanella On Comedy Italian Style;

 

Jul 14      Watch (at home): Big Deal On Madonna Street [I soliti ignoti, 1958];
                 Read: Monicelli Interview, Comedy Italian Style;

 

Jul 15    Screening: The Sweet Life [Federico Fellini, 1960] – Part I;

 

Jul 16    Watch: The Sweet Life – Part II;
              Read: Bondanella on The Sweet Life (p. 132-49);

[Recommended: Gundle, Stephen. “La Dolce Vita.” History Today 50 (2000):29-35. Gordon, Mary. “Rome: The Visible City.” Salmagundi 124 (1999): 79-94. Harcourt, Peter. “The Secret Life of Federico Fellini.” Film Quarterly 19 (1966): 4-19]

Week 3:          Pier Paolo Pasolini and Michelangelo Antonioni: Modernity and Misery

 

Jul 20       PAPER II DUE

                Watch: Accattone [Pier Paolo Pasolini, 1961];
                Read:  John David Rhodes, “Scandalous Desecration.” Stupendous, Miserable City: Pasolini’s Rome [available on ebook here: http://wlu.eblib.com/patron/FullRecord.aspx?p=334223] Christopher Orr, “Pasolini’s ‘Accattone,’ or Naturalism and Its Discontents.” Film Criticism 19 (1995): 54-66;

 

Jul 20   Watch:The Eclypse [M.Antonioni, 1962]
             Read: P.Brunette, “L’eclisse” (From: The Films of Michelangelo Antonioni),
             Esposito, Joan. “Antonioni and Benjamin: Dialectical Imagery in ‘Eclipse’.” Film Criticism 9 (1984): 25-38;

 

[Recommended: Benci, Jacopo. “Michelangelo’s Rome: Towards an Iconology of L’Eclisse.” In Cinematic Rome, edited by Richard Wrigley, 63-85. Leicester, UK: Troubador Publishing, Ltd., 2008]

 

Jul 22   Screening: Roma (Federico Fellini, 1972) Part I;

 

Jul 23  Watch: Roma – Part II;
            Read: Bondanella on: Roma (p. 193-205).

 

Week 4:          The 1970s: Politics and Psychopathology

 

Jul 27  Watch: Investigation on a Citizen Above Suspicion [Petri, 1970];
Read:  Marcus on Investigation on a Citizen Above Suspicion;

 

Jul 28  Watch: The Bird with the Crystal Plumage [D.Argento, 1970];
            Read:  McDonagh on Argento;

 

Jul 29   Screening: Crime Novel [M.Placido, 2005] - Part I;

 

Jul 30   Watch: Crime Novel - Part II;
              Read: O'Rawe “'More Moro Moro: Music and Montage in Romanzo criminale'” The Italianist, 29, (p. 214-26), 2009
              Philip Willan, Puppetmasters: The Political Use of Terrorism in Italy - Ch. 9, 11 (160-78. 214-31).

 

Week 5:          Contemporary Rome: Memory and Mourning

 

Aug 03    Watch: We All Loved Each Other So Much (C’eravamo Tanto Amati, Ettore Scola, 1974);
                 Read:  Marcus on We All Loved Each Other So Much;

 

PAPER II DUE

 

Aug 04    Watch: “In Vespa” episode from Dear Diary (Moretti, 1993);
                 Read:  Marcus, “Caro Diario and the Cinematic Body of Nanni Moretti” (p. 233-241, 244 [last paragraph]-245);

 

Aug 05    Screening: The Great Beauty. (Sorrentino, 2014) – Part I;

 

Aug 06    Watch: The Great Beauty. (Sorrentino, 2014) – Part II;

Final presentations and review;

 

Aug 07    Final Exam.