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JOHN CABOT UNIVERSITY

COURSE CODE: "CMS/ITS 243"
COURSE NAME: "Cinematic Rome"
SEMESTER & YEAR: Summer Session II 2016
SYLLABUS

INSTRUCTOR: Luca Peretti
EMAIL: [email protected]
HOURS: MTWTH 6:00PM 7:45PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: This course carries 3 semester hours of credit.
OFFICE HOURS:

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 a selected number of primary films, along with excerpts from a number of others. We will also consider issues like filmgoing and film production in Rome. The course is structured around five main areas: Cinematic Rome before and after World War II; Roman screenscape during the Economic Miracle; the 1960s: center and periphery; politics, violence, memory and mourning; contemporary Rome. We will visit cinematic landmarks in Rome, including film theaters (open and closed) and Cinecittà, the main Italian film hub. 

 

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) and how the city influences filmmaking.

 

3. Students will learn about the development of Italian film industry, including the leading role of Cinecittà, and how it interacted with foreign film industries (in particular Hollywood).

 

4. Students will explore Rome using cinema as a guide.

 

5. Students will learn the key-elements of the urban, social and culture history of modern (post-unification) and contemporary Rome. 

TEXTBOOK:
NONE
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Cinematic RomeRichard Wrigley Troubadour2008 9781906510282  

RECOMMENDED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
World Film Locations: RomeGabriel Solomons Intellect9781783202003  
Rome, Postmodern Narratives of a CityscapeDom Holdaway, Filippo TrentinPickering & Chatto 97884893349  
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
PresentationAn in-class presentation, which will be assigned at the start of the course. 20%
PapersOne short written assignment and a longer final paper. Guidelines will be discussed in class.40%
Attendance/ParticipationAttendance is mandatory. Students are expected to regularly contribute to classroom discussion20%
Midterm quiz 20%

-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 course.
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 REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________
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. From Silent cinema to Neorealism: reinventing Rome

Exoticism, power and antiquity: Rome in silent cinema

Rome(s) in Fascist cinema

The foundation of Cinecittà

Neorealism: the rebirth or Rome and Italy

 

Week 2. Roman screenscape during the Economic Miracle

Americans in Rome, and Rome in America

Fellini’s Dolce Vita

Rome’s peculiar economic boom

Filmgoing in Rome in the 1950s

 

Week 3. The 1960s: center and periphery

The creation of cinematic places

Antonioni’s alienation in Rome

Pasolini’s paradigmatic city

The former Jewish Ghetto of Rome

 

Week 4. Politics, violence, memory and mourning

Mafia and organized crime in Rome

Fantozzi: the average Italian man

Scola’s history of Italy

Italian crime films and terrorism

 

Week 5: Contemporary Rome

Postmodernity and Rome

Center and Periphery in contemporary Italian cinema

Film theaters in 21th century

Cinetourism