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Department of Languages Linguistics, and Comparative Literature
ITT 3521
ITALIAN FILM CLASSICS:
FROM NEOREALISM TO THE PRESENT
(3 CREDITS)
Syllabus
Fall 2013
Dr Ilaria Serra
E-mail: iserra1@fau.edu
Tel. 561 297 0286
Office: CU242
Office hours: MW 10:00AM-1:00PM
Class meetings: TR 12:30PM-02:20PM
T R 12:30PM01:50PMT R 12:30PM01:50PMT R 12:30PM01:50PMT R 12:30PM01:50PM
Classroom: CU 131 and Living Room Theater 4
No prerequisites
Course description:
Italian Film Classics: from Neorealism to the Present provides an overview of Italys rich cinematic tradition starting from the groundbreaking years of Neorealism, when the nation was rising from the ruins of World War II, to the end of the past century. Thanks to the poetics of Neorealism and to many national auteurs, Italian cinema has become a point of reference for world cinema. In this course we will watch several masterpieces must-see for students of Italian and Film History - by authors such as Roberto Rossellini, Federico Fellini, Pier Paolo Pasolini and Michelangelo Antonioni. The course is taught in English, and all movies have subtitles.
Since the choice of the movies will vary, this course may be repeated for credit.
You may have noticed that the course is 3 credits but it reserves 4 to 4.30 hours of class each week, depending on the length of the movie. This is the reason why we watch films in class: you will be asked to actively watch them, as part of your training as visual interpreters. You will be required to react critically to the visual texts while watching them. You will need to take accurate notes, and formulate questions and hypotheses for decoding such texts. These notes will be re-ordered in a one/two-page response to the viewing and discussed at the next class meeting.
Besides being a privileged learning experience, this is a unique chance to view these masterpieces on the silver screen in a real movie theater (the FAU Living Room Theater), a magical space that some of our movies enthusiastically celebrate (Cinema Paradiso is a real act of love toward the enchanted world of movie theaters).
Course objectives:
This course provides students with the tools with which to read film beyond the surface and to develop an understanding of how cinema as an aesthetic, artistic mode of expression has been articulated in Italy in the course of the second part of the Twentieth century. Its purpose is also to stimulate students critical and analytical skills through a visual medium. The course simultaneously aims at explaining Italian cinema in the context of its intellectual, political, social and economic circumstances.
Readings:
Primary texts:
- Bondanella, Peter. Italian Cinema from Neorealism to the Present. New York: Continuum, 1983 (3d edition, 2001).
- Ed. Sikov. Film Studies: An Introduction. New York, Columbia UP, 2010.
Relevant articles will be available in BlackBoard.
Grading:
Participation: Since your oral participation through class discussion is an important component of the final grade you are expected to bring as much relevant input to class as possible. (10% of the grade)
Viewing responses: every week you are asked to write a 1 page single-spaced paper in which you apply Sikovs technical descriptions to a specific scene of the movie of the week. You should also explain why you chose that specific scene, and how representative it is. Youll notice how watching a movie and seeing a movie are two very different things. Late papers are accepted up to a week late, but will be given a grade reduction (5 points for each late da
y).
Presentation: Thursdays discussion will be introduced by a short oral presentation on the movie of the week, with background research to substantiate it. Each student is required to prepare one (10% of grade).
You will also write an essay-type, take-home midterm exam. The questions asked of you will test your knowledge of the readings and your ability to make connections with the films viewed. (20% of the grade).
Final paper: minimum 10 double-spaced pages, excluding notes and works cited; minimum 5 items in works cited. For the final paper, you will choose one movie for a close reading analysis or a group of movies for a thematic analysis. Italian majors at the advanced level should write all the written assignments in Italian (8 pages), but will be graded on content. (20% of the grade).
Plagiarism will automatically result in an F-grade with no possibility of appeal.
Participation (active class participation): 10%
Short presentation: 10%.
Film evaluations: 30% (12 for 2.5% each)
Midterm, essay-type take-home exam: 20%
Final paper outline, bibliography and presentation paragraph: 10%
Final paper: 20%
Grading Scale
A93-100B+88-89C+78-79D+68-69F0-63A-90-92B82-87C72-77D66-67B-80-81C-70-71D-64-65
Attendance Policy Your attendance on both Tuesdays and Thursdays is compulsory, even if you have seen some of these films. Inside an academic context you will not view them in the same light.
You are responsible for arranging to make up work missed because of legitimate class absence, such as illness, family emergencies, military obligation, court-imposed legal obligations or participation in University-approved activities. It is the students responsibility to give the instructor notice prior to any anticipated absence and within a reasonable amount of time after an unanticipated absence, ordinarily by the next scheduled class meeting.
If you accumulate more than three unexcused absences, your grade will be lowered. In other words, suppose your final grade point average is B+. If you are absent for the fourth time (without a proper justification), either for the discussion or for the screening of the films shown your B+ will turn into B; after the fifth absence it becomes B- etc.
Classroom Etiquette
In order to enhance and maintain a productive atmosphere for education, personal communication devices, such as cellular telephones and pagers, are to be disabled in class sessions.
If you e-mail your instructor and/or other students, be polite in your letters. Start with dear and add a proper introduction and greetings. Use FAU email to avoid being blocked as spam.
Disability Policy Statement
In compliance with the Americans with Disabilities Act (ADA), students who, due to a disability, require special accommodation to properly execute course work must register with the Office for Students with Disabilities (OSD) -- in Boca Raton, SU 133 (561-297-3880); in Davie, LA 240 (954-236-1222); in Jupiter, SR 110 (561-799-8010) -- and follow all OSD procedures.
Code of Academic Integrity Policy Statement
Students at Դɼ are expected to maintain the highest ethical standards. Academic dishonesty is considered a serious breach of these ethical standards, because it interferes with the University mission to provide a high quality education in which no student enjoys an unfair advantage over any other. Academic dishonesty is also destructive of the University community, which is grounded in a system of mutual trust and places high value on personal integrity and individual responsibility. Harsh penalties are associated with academic dishonesty. For more information, see the Code of Academic Integrity in the University Regulations: HYPERLINK "http://www.fau.edu/regulations/chapter4/4.001_Code_of_Academic_Integrity.pdf"http://www.fau.edu/regulations/chapter4/4.001_Code_of_Academic_Integrity.pdf
Warning: Some films show sexually explicit scenes or contain violent scenes and/or language. Please keep an open mind.
The syllabus may be subject to slight revisions at the discretion of the instructor and with sufficient advance warning.
Course Itinerary (Tuesdays: Screening /Thursdays: Discussion)
WEEK DATE SCREENING DISCUSSION READINGS
1 August 27-29 Segments from
Giovanni Pastrone, Cabiria (1914); Alessandro Blasetti, 1860 (1933)
IntroductionSikov, pp. 1-23
Mise-en-scene
2September 3-5
2 Settembre: Labor Day
Roberto Rossellini, Roma Citta aperta (Open City, 1945)
Italian Neorealism and Politics
Sikov, pp. 24-37
Camera movement
Bondanella, Ch. 1
Pp. 1-30
3September 9-11 Vittorio De Sica, Ladri di biciclette (Bicycle Thief, 1948)
Italian Neorealism and PoetrySikov, 38-54
Cinematography
Bondanella, Ch. 2
Pp. 31-73
4September 16-18
Cesare Zavattinis Miracolo a Milano (Miracle in Milan, 1950)
(vhs)
Italian Neorealism and ImaginationSikov, pp. 55-73
Editing
Bondanella, Ch. 3
Pp. 74-102
5September 23-25Giuseppe De Santis, Riso amaro (Bitter Rice), 1949
(vhs)
Shades of Pink on NeorealismSikov, pp. 74-88
Sound
6
October
1-3 Federico Fellini, La Strada (The
Road), 1956Young Fellini on the Road of Italian ReconstructionSikov, 89-102
Narrative
Bondanella, Ch. 4
Pp. 103-141
7October
8-10 Pietro Germi, Divorzio allitaliana (Divorce Italian Style, 1962)
Commedia allitaliana
Sikov, 129-142
Performance
Bondanella, Ch. 5
Pp. 142-195
8
October 15-17 Federico Fellini, La dolce vita (1960)
Fellini's Dream and the Economic Boom. Excerpts from 8 1/2 (1963)Sikov, 103-115
Narrative Structures
Bondanella, Ch. 6
Pp. 196-2529
October 22-24Luchino Visconti, Rocco e i suoi fratelli (Rocco and His Brothers), 1960
North, South and One FamilySikov, 116-128
Filmmakers and Producers10October 29-31 Pier Paolo Pasolini, Mamma Roma (1962)
Cinema of Poetry and Neorealism
Sikov, 143-157
Genre
Bondanella, Ch. 8
Pp. 275-319
Start thinking about your final paper. Come prepared to speak aboutyour idea on Thusday Oct. 31.11November 5-7
Michelangelo Antonioni, Deserto rosso (Red Desert), 1964
(vhs)
Painting Industrial Italy
Excerpt from Michelangelo Antonionis Blow Up (1966)
Take-home exam questions will be given Thursday. Start reorganizing your notes. Exam due on Monday Nov. 11 at noon (via e-mail).Sikov, 158-168
Special Effects
Thursday Nov. 7: After thinking about the topic, bring to class a bibliography to support your research (at least 5 items). You can use InterLibrary Loan if the books are not available here. Ask for them this week, or they will not arrive on time.12November 12-14
Nov. 11: Veterans DayLina Wertmuller, Travolti da un insolito destino Swept Away (1974)
The Political Comedy of a Woman Filmmaker
Sikov, 169-185
Writing a paper
Bondanella, Ch. 10
Pp. 347-384
13November 19-21Giuseppe Tornatore, Nuovo Cinema Paradiso (Cinema Paradiso), 1988
An Italian Love Story with CinemaFinal paper outline and presentation paragraph due on Tuesday. You will receive them back on Thursday and you should immediately start writing the final paper. Remember you need to let it rest two days after you finish it before re-reading it and turning it in.
Bondanella, Ch. 12
Pp. 425-46014November 26
Nov. 28: Thanksgiving
Roberto Benigni, La vita e bella (Life is beautiful),
1997How Can We Laugh?
When Imagination Re-Reads Reality.
Closing the Circle.Lawrence Brown, Serious Humor: Laughter as Lamentation (122-132)
Sander Gilman, Is Life Beautiful? Can the Shoah be funny? 108-12115December 3
Discussion of Life is Beautiful
(No weekly paper due as you should be writing your final paper)
Final paper due: Thursday, December 5, 10.30-12.30. Presentation of final papers in class.
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