Italian Cinema After 1968
ITAL 250
Spring 2009 not offered
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This course, conducted in Italian, takes as its subject Italian cinema after the watershed year of 1968. The first half assesses Italian cinema in the light of the social upheaval beginning in the '60s, examining films with an eye on such themes as power and resistance, corruption and politics, eros and politics, feminism and the women's movement, and terrorism. The second half of the course focuses on several auteurs. Some of the filmmakers we will explore include Elio Petri, Bernardo Bertolucci, Marco Ferreri, Mario Martone, Marco Bellocchio, Gabriele Salvatores, Francesca Archibugi, and Nanni Moretti. 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:
Intercultural Literacy, Interpretation |
| 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 Requirement for: (ITST)(RMST) |
Major Readings:
PROPOSED VIEWING:
Amelio, Gianni. Porte aperte; Colpire al cuore
Ferreri, Marco. La grande abbuffata; Storia di Piera; Ciao maschio
Moretti, Nanni. Ecce Bombo; Palombella rossa; Aprile; La stanza del figlio; Il caimano
Salvatores, Gabriele. Amnesia; Puerto Escondido; Nirvana; Io non ho paura; Quo vadis, baby?
Bertolucci, Bernardo. Prima della rivoluzione; I dreamers; Last tango in Paris
Bellocchio, Marco. I pugni in tasca; L¿ora di religione; Buongiorno notte
Martone, Mario. L¿amore molesto; La morte di un matematico napoletano
Petri, Elio. Indagine su un cittadino sopra ogni sospetto
Archibugi, Francesca. Il grande cocomero.
Required Texts:
Lepre, Aurelio. Storia della prima repubblica. Da 1943 a 2003. Course Reader.
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Additional Requirements and/or Comments:
This course will show films in the original and without subtitles, or, when available, with subtitles for the (Italian) hearing impaired. 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 program BEFORE the beginning of the course. (For further information about this, 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.
Students must attend one weekly screening per week. There will be two screenings scheduled to accommodate students' schedules. Both screenings will be on Mondays. One will begin at 4:15, the other at 7:00. The screenings must accommodate each film's length and will last at least 2 hours. All students must see the films and related clips before class on Tuesdays. It will not be possible to have all the films available on Reserve. It may be possible to schedule a screening Tuesday mornings. |
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