Italian Cinema After 1968
ITAL 250
Spring 2014 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 1960s, 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? We end the course by examining films made since 2000 set in the late 1960s and 1970s that reflect on the social turmoil that 1968 gave rise to. |
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| 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. Colpire al cuore
Bertolucci, Bernardo. Prima della rivoluzione; I dreamers; Last tango in Paris
Bellocchio, Marco. Buongiorno notte
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?
Martone, Mario. L'amore molesto
Petri, Elio. Indagine su un cittadino sopra ogni sospetto
Placido, Michelle. Romanzo criminale
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 or who have completed Italian 221 and/or Italian 222.
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/hir in the elements of formal analysis, and to undertake the self-test program BEFORE the beginning of the course. (For further information about this, please contact professor at enerenberg@wesleyan.edu.) Students should use a recent edition (the most recent is the 12th, but the 11th will serve.) As a class, and using an Italian text, we will employ appropriate terms in our discussions in Italian.
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Examinations and Assignments:
Two essays, group presentation, oral final exam.
Students will also lead discussion.
Students will participate actively in discussion in this seminar. |
Additional Requirements and/or Comments:
Students are required to attend one weekly screening per week. There will be no alternative to the weekly screenings. Two will be scheduled: Thursdays at 4:15 and Sundays at 7:15. The screenings must accommodate each film's length and will last at least 2 hours. All students must see the films and any related clips before class on Mondays. Not all the films are able to be put on Reserve. It may be possible to schedule an additional (third) screening some time on Mondays before class.
Readings will accompany each film. Students are expected to participate actively in discussion. |
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