Italian Cinema After 1968
ITAL 250
Spring 2007 not offered
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This course, conducted in Italian, takes as its subject Italian cinema after the watershed year of 1968. We begin with several films of Pier Paolo Pasolini as well as other ¿political¿ filmmakers like Elio Petri, Gillo Pontecorvo, Francesco Rosi, and Lina Wertmuller. We will examine the works of auteurs like Gianni Amelio, Francesca Archibugi, Marco Ferreri, Gabriele Salvatores as well as the work of ¿the master of horror,¿ Dario Argento. How do the works of these filmmakers both reflect social change and engender it? How do the directors¿ formal choices inform their ideological positions? |
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Essential Capabilities:
None |
| Credit: 1 |
Gen Ed Area Dept:
HA RLAN |
| Course Format: Lecture/Discussion | Grading Mode: Graded |
| Level: UGRD |
Prerequisites: ITAL221 |
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Fulfills a Major Requirement for: (ITST)(RMST) |
Major Readings:
PROPOSED VIEWING:
Amelio, Gianni. Lamerica, Porte aperte
Archibugi, Francesca. Verso sera, Il grande cocomero.
Argento, Dario. L¿uccello dale piume di cristallo, Opera, La sindrome di Stendhal
Ferreri, Marco. Dillinger e¿ morto, La grande abbuffata, Storia di Piera
Moretti, Nanni. Ecce Bombo, Palombella rossa, Aprile, La stanza del figlio
Pasolini, Pier Paolo. (Il vangelo secondo Matteo), Teorema, Appunti per un¿Orestiede africana
Pontecorvo, Gillo. (La battaglia di Algeri), Queimada
Rosi, Francesco. Il caso Mattei, Cristo si e¿ fermato a Eboli
Salvatores, Gabriele. Marrakesh Express, (Meditteraneo), Puerto Escondido, Nirvana
Required Texts:
Ginsborg, Paul. Italy and its Discontents: Family, Civil Society, and State, 1980-2001.
Course Reader.
Levi, Carlo. Cristo si e¿ fermato a Eboli.
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Additional Requirements and/or Comments:
This course will show films in the original and without subtitles. It is intended for students who have spent at least one semester studying abroad in Italy, though may be appropriate for some students who have completed Italian 221.
No prior knowledge of formal film analysis is required, but we will work on formal skills throughout the semester. Students who have no prior experience in formal film analysis are encouraged to purchase Louis Giannetti¿s Understanding Movies, a text in English that will help ground her/him in the elements of formal analysis, and undertake the self-test BEFORE the beginning of the course. (Please contact professor at enerenberg@wesleyan.edu.) As a class, and using an Italian text, we will employ appropriate terms in our conversations in Italian.
There is a screening session scheduled for Tuesday nights that lasts three hours. Each week, one entire film, as well as parts of others, will be shown. All students must see the films and related clips before class on Wednesdays. It will not be possible to have all the films available on Reserve.
The instructor will use the electronic waitlist, all students seeking enrollment are encouraged to list the course as a request.
Students not attending the first class meeting will be dropped. |
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