85101 - INTERNATIONAL RECEPTION OF ITALIAN CINEMA (1) (LM

Conoscenze e abilità da conseguire

At the end of the course students will have acquired the fundamentals in the field of international reception of Italian cinema, with regard to the main phases, trends, movements and celebrities, having grasped the basic elements of an updated methodology for analysing the theory of reception. Students will be able to reflect critically on the relationship between local, national, supranational and global, through practical examples of inter-textual and transcultural relations.

Contenuti

The course will focus on particular phases of Italian film history, following movements, themes, trends and genres that have characterized the transnational paths of Italian films, from the silent era to contemporary cinema.

Through the analysis of Italian films that have been internationally distributed (the list will be provided soon), the course will detect the elements that may have contributed to their international success or failure.

We will focus on the following films, which are part of the exam material and will be screened throughout the course:
Germania anno zero (Germany Year Zero, Roberto Rossellini, 1948)
Cronaca di un amore (Story of a Love Affair, Michelangelo Antonioni, 1950)
La ciociara (Two Women, Vittorio De Sica, 1960)
Django (Sergio Corbucci, 1966)
Mimì metallurgico ferito nell'onore (The Seduction of Mimì, Lina Wertmüller, 1972)
Lazzaro felice (Happy as Lazzaro, Alice Rohrwacher, 2018)

The course will use methods from reception theory, production and distribution studies, textual analysis.

We will take into account the evolving characteristics of the film distribution system, the differences and nuances between distribution and circulation, and between local, national, transnational scale. We will investigate the evolution of film scholarship on Italian popular cinema, as well as Italian films' most exportable traits and what have defined them throughout the history of Italian cinema.

Testi/Bibliografia

For attending and non-attending students:

Bayman, L., Rigoletto, S. (eds.), Popular Italian Cinema. London, Palgrave MacMillan, 2013.

Holdaway, D., Scaglioni, M., “From Distribution to Circulation Studies: Mapping Italian Films Abroad”, in Comunicazioni sociali, n. 3, 2018, pp. 341-355.

Further readings will be provided during lessons.

For non-attending students:

From Bondanella P. (ed.), The Italian Cinema Book, Bloomsbury, 2013:
- Bertellini, G., Silent Italian Cinema. An International Story, pp. 9-16
- Gordon, R.S.C., Hollywood and Italy. Industries and Fantasies, pp. 123-129

From Burke, F. (ed.) A Companion to Italian Cinema, Wiley Blackwell, 2017:
- Landy, M., Genre, Politics, and the Fascist Subject in the Cinema of Italy (1922–1945), pp. 66-81
- Aprà, A., Cross-Fertilization between France and Italy from Neorealism through the 1960s, pp. 216-224

Metodi didattici

The course will be structured in lectures led by the teacher, supported by slides and audiovisual materials. Students are expected to actively participate in class discussions and film analysis.

Due to the restrictions imposed by the current health emergency, the lectures will be delivered by the teacher in the classroom, while students will choose whether to attend in presence or online through the app Presente.

Modalità di verifica e valutazione dell'apprendimento

The course will be examined through an oral examination, which will cover the lectures, readings and film screenings.

Attending students are required to prepare the lectures, slides, and the texts in the bibliography: Bayman, L., Rigoletto, S. (eds.), Popular Italian Cinema and Holdaway, D., Scaglioni, M., “From Distribution to Circulation Studies: Mapping Italian Films Abroad”, in Comunicazioni sociali, n. 3, 2018, pp. 341-355.

Non attending students are required to prepare the slides available online, the texts in the bibliography (Bayman, L., Rigoletto, S. (eds.), Popular Italian Cinema and Holdaway, D., Scaglioni, M., “From Distribution to Circulation Studies: Mapping Italian Films Abroad”, in Comunicazioni sociali, n. 3, 2018, pp. 341-355) and the additional readings listed in the bibliography section, i.e. Bertellini, G., Silent Italian Cinema. An International Story, pp. 9-16; Gordon, R.S.C., Hollywood and Italy. Industries and Fantasies, pp. 123-129 (from Bondanella P., The Italian Cinema Book, Bloomsbury, 2013); Landy, M., Genre, Politics, and the Fascist Subject in the Cinema of Italy (1922–1945), pp. 66-81; Aprà, A., Cross-Fertilization between France and Italy from Neorealism through the 1960s, pp. 216-224 (from Burke, F. A Companion to Italian Cinema, Wiley Blackwell, 2017).

Students are required to watch the films on the list provided above (see Contenuti/Course contents).

A deep understanding of the texts, the capacity to critically discuss the readings and the issues addressed in the class, as well as the ability to use historical, analytical, methodological tools and to connect them to the films, will receive high grades. An acceptable knowledge of the texts with a rougher analytical capacity will receive lower grades. A vague understanding of the texts, with inappropriate use of terminology and a lack of analytical skills will be evaluated at the limits of a pass. A clear lack of understanding of the programme’s contents and a significantly inaccurate exposition will be assessed as insufficient and will lead to a fail.

Strumenti a supporto della didattica

Slides, readings, film screenings. The slides, readings and other course materials will be available online for both attending and non-attending students.

Orario di ricevimento

Consulta il sito web di Chiara Checcaglini