Background for understanding and appreciating the best of motion picture art from Italy.  Discussion and analysis of major movies and trends in Italian cinema, with particular attention paid to how narrative film techniques relate to the social, political, and cultural situation of the time. Language of instruction will be English; no knowledge of Italian is required.

MIAMI PLAN CREDIT: This course is part of the MP Thematic Sequence "European Cinema," for which students must take either FST 201 INTRODUCTION TO FILM CRITICISM AND HISTORY or MPF 201 INTRODUCTION TO INTERNATIONAL STUDIES as a foundation and then choose two (2) of the following courses on European cinema: GER 261 A SURVEY OF GERMAN CINEMA, ITL 262 ITALIAN CINEMA, RUS 263 SOVIET CINEMA, FRE 366 FRENCH CINEMA, FRE 466 SURREALISM AND CINEMA, HST 252 REPRESENTATION OF HISTORY IN FILM AND VIDEO.

CAS REQUIREMENTS: The course counts toward the College of Arts and Science Requirements in the category CAS-B-Other Humanities.

ITALIAN MINOR: This course is part of the Italian minor if taken in conjuction with ITL 262.1 CINEMA ITALIANO (1) (T R 3:25-3:50), a supplementary one-credit course taught in Italian. The two courses together would thus count as 4 credit hours toward the minor. The Italian minor consists of 18 hours above the 100 level, which must include ITL 301/302 INTRODUCTION TO ITALIAN LITERATURE.

FILM STUDIES MINOR: The course is also part of the minor in Film Studies: 18 hours; required courses: FST 201 INTRODUCTION TO FILM CRITICISM AND HISTORY and FST 401 SEMINAR IN FILM STUDY; choose remaining 12 semester hours from the following: COM 205 STUDIES IN VISUAL COMMUNICATION: AMERICAN FILM; EDT 461 COMMUNICATION THROUGH FILM; ENG 220 LITERATURE AND FILM (3, MAX 6); ENG 221 SHAKESPEARE AND FILM; ENG 350 TOPICS IN FILM; FRE 366 FRENCH CINEMA; FRE 466 SURREALISM AND CINEMA; FRE 600 SEMINAR IN FRENCH LITERATURE (when topic is related to film) (1-4, MAX 16); FST/ENG 235 CLASSICS OF FILM; FST/ENG 236 ALTERNATIVE TRADITIONS IN FILM; GER 261 SURVEY OF GERMAN CINEMA; HST 252 REPRESENTATIONS OF HISTORY IN FILM AND VIDEO; ITL 262 ITALIAN CINEMA; PHL 241 AESTHETICS (4); PHL 410 SPECIAL TOPICS (when related to film) (1-4); RUS 261 SOVIET CINEMA.

A.  MOVIE SCREENINGS: We will view major Italian movies (feature films on Tuesday evenings, 7:30 PM, 40 Irvin, as well as clips in class from other representative films) and discuss them in class meetings (Tuesday and Thursday afternoons, 2:00-3:15 PM). We will follow a chronological order (more or less), from the great historical spectacles of the silent era, through films of the Fascist period (1922-1943), through the neorealist masterpieces of the post-second-world-war period, through the the commedia all'italiana (comedy Italian-style) and "Spaghetti Westerns" of the 60s and 70s, to contemporary masters of Italian cinema.

B.  WEEKLY PAPERS AND JOURNAL: Each student will write and hand in short, one-to-two-page, weekly essays on each feature film shown in class, analyzing it by applying the information contained in that week's reading in Understanding Movies. The collected papers will make up a journal to be handed in at the end of the semester (see attached guidelines).

C.  ORAL PRESENTATIONS:  Students will prepare and present a 10-minute oral report (see attached guidelines and a list of topics).

D.  MID-TERM EXAM:  There will be an exam covering the readings, the films, the oral presentations, and the class discussions of the weeks preceding the exam (Thursday, Oct. 12).

E.  FINAL EXAM:  There will be a comprehensive two-hour final examination covering all the films, readings, discussions, and oral presentations of the course; Wednesday, Dec. 13, 5:30 PM.

F.  GRADING: Points will be awarded in the following categories:

1) Participation in class discussions: 100 points

2) Weekly papers: 13 (of 14 possible) x 10 = 130; 3 x 40 = 120; total 250 "

3) Mid-term exam 150 "

4) Oral presentation 50 "

5) Final exam 250 "

TOTAL 800 points

TEXTS: Louis Giannetti, Understanding Movies, 9^th edition (referred to as UM)

Peter Bondanella, Italian Cinema, 3^rd edtition (referred to as IC)

SCREENINGS: Tuesday evenings, 7:30 PM, 40 Irvin; free and open to public

I WEEK: Introduction to course and Italian cinema; Silent period: READING: IC ch. 1, pp. 1-12

Aug. 21, T: Introduction to course; view clips from Cabiria (Giovanni Pastrone, 1914)

SCREENING: Cinema Paradiso (Giuseppe Tornatore, 1989)

Aug. 23, R: Discuss Paradiso; hand in paper 1, general topic

II WEEK: Early historical spectacles and Fascism; READING: UM ch. 1, "Photography"; IC ch. 1, pp. 13-30

Aug. 28, T: Presentation on Blasetti; View clips from Cabiria (Pastrone, 1914);

SCREENING: 1860 (Alessandro Blasetti, 1934)

Aug. 30, R:  Discuss 1860; View Mussolini: Rise and Fall of a Dictator; hand in paper 2, use of photography

III WEEK: Overview of Italian cinema since World War II; READING: IC ch. 2, pp. 31-52

(Sept. 4, T: Monday/Tuesday switch; no Tuesday classes; no evening screening)

Sept. 6, R: View Mussolini: Rise and Fall of a Dictator

IV WEEK: Neorealism and World-War II; READING: UM ch. 2, "Mise-en-scène";IC ch. 2, pp. 52-73

Sept. 11, T: Presentations on Rossellini and De Sica, clips from Open City (Roberto Rossellini, 1945)

SCREENING: Umberto D (Vittorio De Sica, 1952)

Sept. 13, R: Discuss Umberto D hand in paper 3, use of mise-en-scene

V WEEK: Post-war Italy; beyond Neorealism; READING: UM ch. 3, "Movement"; IC ch. 3

Sept 18, T: Presentations on De Santis and Zavattini, clips from Riso amaro (Bitter Rice, Giuseppe De Santis, 1948)

SCREENING: Miracle in Milan (Miracolo a Milano, Vittorio De Sica, 1950)

Sept. 20, R: Discuss Miracle; hand in paper 4, use of movement

VI WEEK: Departure from Neorealism; READING: UM ch. 4, "Editing"; IC ch. 4

Sept. 25, T: Presentations on Antonioni and Fellini; clips from Il grido (Michelangelo Antonioni, 1957)

SCREENING: The White Sheik (Lo sceicco bianco, Federico Fellini 1952)

Sept. 27, R: Discuss Sheik hand in paper 5, use of editing

VII WEEK: Italian comedy and new directions; READING: UM ch. 5, "Sound"; IC ch. 5

Oct. 2, T: Presentations on Germi and Monicelli; clips from Seduced and Abandoned (Pietro Germi, 1962)

SCREENING: Big Deal on Madonna Street (I soliti ignoti, Mario Monicelli, 1958)

Oct. 4, R: Discuss Big Deal, hand in paper 6, use of sound

VIII WEEK: Economic boom and mature auteurs; READING: UM ch. 6, "Acting"; IC ch. 6, pp. 196-228

Oct. 9, T: Presentation on Visconti; clips from The Red Desert (Michelangelo Antonioni, 1964)

SCREENING: Death in Venice (Morte a Venezia, Luchino Visconti, 1971)

Oct. 11, Mid-term exam; hand in paper 7, on acting

IX WEEK: New vs. Old; mature Fellini; READING: UM ch. 7, "Drama"; IC ch. 6, pp. 229-252

Oct. 16, T:  Clips from 8 ½ (Federico Fellini, 1962);

SCREENING: Roma (Federico Fellini, 1971)

Oct. 18, R:  R: Discuss Roma, hand in paper 8, on drama

X WEEK: Neo-mythology and Spaghetti Westerns; READING: UM ch. 8, "Story"; IC ch. 7

Oct. 23, T: Presentation on "Spaghetti Westerns"; clips from Hercules in Chains (Pietro Francisci, 1959)

SCREENING: My Name is Nobody (Il mio nome è nessuno, Tonino Valerii, 1973)

Oct. 25, R: Discuss Nobody, hand in paper 9, on story

XI WEEK: Marx and Freud; READING: UM ch. 9, "Writing"; IC ch. 8

Oct. 30, T: Presentations on Pasolini and Bertolucci; clips from Last Tango in Paris (Bernardo Bertolucci, 1972)

SCREENING: The Decameron (Pier Paolo Pasolini, 1971)

Nov. 1, R: Discuss Decameron, hand in paper 10, on writing

XII WEEK: Politics and ideology; READING: UM ch. 10, "Ideology"; IC ch. 9

Nov. 6, T: Presentations on Rosi and Taviani Brothers; clips from Padre, padrone (P. & V. Taviani, 1975)

SCREENING: Three Brothers (Tre fratelli, Francesco Rosi, 1981)

Nov. 8, R: Discuss Brothers; hand in paper 11, on ideology

XIII WEEK: Societal and ideological changes; READING: UM ch. 11, "Theory"; IC ch. 10

Nov. 13, T: Presentations on Scola and Wertmuller, clips from We All Loved Each Other So Much (C'eravamo tanto amati, Ettore Scola, 1974)

SCREENING: Seven Beauties (Pasqualino Settebellezze, Lina Wertmuller, 1975)

Nov. 15, R: Discuss Beauties; hand in paper 12, on theory

XIV WEEK: Media and culture

Nov. 20, T: clips from Ginger & Fred (Fellini, 1985)

THANKSGIVING BREAK, no screening this week

XV WEEK: Cinema and history; READING: UM ch. 12, "Synthesis," pp. 471-487; IC ch. 11

Nov. 27, T: Presentation on Nichetti; clips from The Icicle Thief (Ladri di saponette, Maurizio Nichetti, 1989)

SCREENING: The Night of the Shooting Stars (La notte di San Lorenzo, Paolo & Vittorio Taviani, 1982)

Nov. 29, R: Discuss Stars; paper 13, synthesis (photography, mise-en-scene, movement, editing, sound)

XVI WEEK: Conclusion, synthesis; Cinema and Italy; READING: UM ch. 11, "Synthesis," pp. 487-506

Dec. 6, T: Presentation on Amelio; clips from The Postman (Il postino, Michael Radford, 1994)

SCREENING: Lamerica (Gianni Amelio, 1994)

Dec. 8, R: Discuss Lamerica; conclusions; paper 14, synthesis (acting, drama, story, writing, ideology, theory)

FINAL EXAM: Monday, Dec. 10, 5:30 PM

Each student will write a short paper (circa 300-500 words, no more than two pages, typed, double-spaced) on each weekly feature film, analyzing it by applying the information contained in that week's assigned reading in Understanding Movies.  Accordingly, if the reading assignment for that particular week is on sound, the student will look for an example of how sound is used creatively in that week's film (screened Tuesday evenings) and analyze how it contributes to the film's meaning. These exercises should be concise, coherent, and well focused.  They should consist of three essential components or steps: 

1) Observation--describe a specific scene in the film where you notice one of the cinematic techniques under consideration, concentrating on how the technique is used (not on a summary of the plot or the situation);

2) Analysis--what effect does the use of the technique produce in the viewer (using what Giannetti has to say in that week's reading assignment from Understanding Movies): e.g. fear, power, repulsion, attraction, etc.?  Limit yourself here to considering the immediate effect of the shot or technique within the scene in which it occurs (i.e. as if viewing the scene by itself and not as part of the movie as a whole): what reaction (intellectual, emotional, visceral) does it elicit from you;

3) Interpretation--how do the cinematic effects and the reactions produced on the viewer by the technique(s) used in this particular scene contribute to the overall meaning of the movie? What is the message of the movie and how has the use of this technique helped to create that message?

This is obviously quite a bit to cover in just a page or two, which is why it's important to be concise and well focused.  There are two things to AVOID: 1) unsubstantiated subjectivity--"I really liked this movie . . ." "I just hate movies like this . . ." "I love Sophia Loren . . .": i.e. statements that describe you or your preferences more than elements of the film--and 2) excessive objectivity, by which I mean mere observation, simply listing the techniques without attempting to analyze or interpret them or suggest what they mean and how they contribute to the overal meaning of the film.  (See attached sample)

PROCEDURE: For all papers the class will be divided into small groups, and the papers to be included in the journal and to be graded will be produced in consultation with other members of the group, according to the following pattern:

1) INDIVIDUAL DRAFTS: Each student will write a paper, as described above, after viewing the film on Tuesday evening, and hand it in on Thursday. Late papers will not be accepted! I will read and critique these papers and mark them with a check, but will not assign a grade for their content. They will be worth 10 points each, if they are done accurately and handed in on time. If they are late or inadequate in form, they will not receive any points, but may nonetheless be revised for inclusion in the final journal.

2) GROUP CONSULTATION: The class will be divided into small groups at the Thursday class meeting for students to compare papers. Each member of the group will critique the papers of the other members (providing comments, suggestions, reactions, additions, etc.).

3) REWRITING DEFINITIVE DRAFT FOR JOURNAL: After receiving feedback from their groups and participating in class discussion, and after receiving written feedback from me, students should rewrite a definitive draft of their paper which will become part of their journal to be handed in at the end of the semester. I will randomly pick three of the papers from the journal and grade them (40 points each) for style (spelling, grammar, punctuation, etc.) as well as content.

TOTAL: 13 X 10 (original drafts, of 14 possible), 3 X 40 (graded versions) = 250 points

Each student should prepare a 10-minute presentation to the class on one of the topics listed below. To accompany your oral presentation you should prepare a 1 or 2-page handout consisting of the following components: 1) an outline of the information in your presentation, 2) a compilation of pertinent and striking quotations which provide insight into your subject, 3) a filmography of major films, 4) a bibliography of the sources you have consulted (author, title, publisher, place and date of publication; or web-site address), and--if you wish; but it's not required--5) graphs, pictures, or anything else that you feel will make your presentation more memorable. You should make enough copies of this handout to hand out to me and to all the students so that they can follow your discussion better and also have something with which to study afterwards (see sample attached). The information provided in these presentations will be included in the exams.

TOPICS: Choose one of the topics listed below by printing your names next to it. An * indicates secondary topics: sign up for one of these only if the main topics have all been claimed:

Aug. 28: *Alessandro Blasetti _______________________

Sept. 11: *Cesare Zavattini ______________________________

Roberto Rossellini _______________________________

Sept. 18: Vittorio De Sica ___________________________

* Francesco De Santis _________________________

Sept. 25: Federico Fellini ______________________________

Michelangelo Antonioni ___________________________

Oct. 2: Pietro Germi _____________________________

*Mario Monicelli ______________________________

Oct. 9: Luchino Visconti______________________________

Oct. 23: The "Spaghetti Western" ____________________________

Oct. 30: Pier Paolo Pasolini ____________________________

Bernardo Bertolucci ______________________________

Nov. 6: Francesco Rosi ___________________________

Paolo & Vittorio Taviani ____________________________

Nov. 13: Lina Wertmuller _____________________________

* Ettore Scola ____________________________

Nov. 27: *Maurizio Nichetti ____________________________

Dec. 4: Gianni Amelio _____________________________

THESE ARE RESEARCH PROJECTS. You should consult at least four sources (books, articles, tapes, web sites, etc.) in researching the topic, preferably more. Students who know Italian should use Italian sources whenever possible.

There are film encyclopedias and dictionaries, as well as compilations of movie reviews in the Humanities Reference area of the library. Ask for assistance at the Reference desk.

Books on Italian cinema are located adjacent to each other on the shelves with call numbers beginning PN 1993.5 .I88. Those on particular filmmakers are nearby with call numbers beginning PN 1998. These are grouped in alphabetical order according to the name of the filmmaker being discussed, but not by nationality. Thus, books on Fellini will be found between books on Eisenstein and Flaherty.