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2012 Rome Seminar Bibliography

Week 1

  • Monday, June 11 - Mariagrazia Fanchi: Audiences

Filmography

  1. Michelangelo Antonioni, La signora senza camelie, 1953
  2. Ettore Scola, C’eravamo tanto amati, 1974
  3. Nanni Moretti, Sogni d’oro, 1981
  4. Ettore Scola, Splendor, 1989

Bibliography

  1. M. Fanchi, Lo spettatore, il pubblico e i pubblici: per una fenomenologia sociale dell’italiano che guarda, in U. Volli (ed.), La cultura italiana. IX volume: Musica, spettacolo, fotografia, design, UTET, Novara 2009, pp. 430-439. 
  2. F. Casetti-S. Alovisio, il contributo della Chiesa alla moralizzazione degli spazi pubblici, in R. Eugeni, D.E. Viganò (eds), Attraverso lo schermo. Cinema e cultura cattolica in Italia (vol. 1), EDS. Ente dello Spettacolo, Roma 2006, pp. 97- 127.
  3. V. Spinazzola, Cinema e pubblico. Lo spettacolo filmico in Italia. 1945-1965, Bulzoni Editore, Roma: 1985
  4. F. Casetti, M. Fanchi, Le funzioni sociali del cinema e dei media. Dati statistici, ricerche sull’audience e storie di consumo, in M. Fanchi, E. Mosconi (eds), Spettatori. Forme di consumo e pubblici del cinema in Italia. 1930-1960, Marsilio Editore, Venezia 2002, pp. 135-171.
  5. E. Gremigni, Pubblico e popolarità. Il ruolo del cinema nella società italiana. 1956-1967, Le lettere, Firenze 2009 (Il dibattito su “L’Unità”), pp. 61-99.
  6. M. Fanchi, “Il Film Ideale”. Catholic policies on cinema between the Fifties and Sixties, forthcoming
  • Tuesday, June 12 - Natalie Fullwood: Driving in the City in Commedia allʼitaliana

Filmography

  1. I mostri, dir. Dino Risi, 1963: L'educazione sentimentale; La giornata dell'onorevole; L'agguato; VernissageLa strada è di tutti.
  2. I motorizzati, dir. Camillo Mastrocinque, 1962.
  3. Il sorpasso, dir. Dino Risi, 1962.

  4. Il vigile, dir. Luigi Zampa, 1960.

  5. Se permettete parliamo di donne, dir. Ettore Scola, 1964, episodes 5 and 6 [timecode 0.30.00 - 0.56.00].

Bibliography

  1. De Certeau, Michel, ʻWalking in the cityʼ, in The Practice of Everyday Life, trans. by Steven Rendall (Berkely: University of California Press, 1984), pp. 91-110 (plus notes on pp. 218-21).
  2. Giacovelli, Enrico, ʻLʼautomobileʼ, in La commedia allʼitaliana: la storia, i luoghi, gli autori, gli attori, i film, 2nd edn (Rome: Gremese, 1995), pp. 150-6.
  3. ----, ʻ1958-1970: Riso amaro. Gli anni dʼoro della commedia allʼitalianaʼ in Non ci resta che ridere: una storia del cinema comico italiano (Turin: Lindau, 1999), especially pp. 77-100.
  4. Ginsborg, Paul, ʻThe “Economic Miracle”, Rural Exodus and Social Transformation, 1958-63ʼ, in A History of Contemporary Italy (London: Penguin, 1990), especially pp. 210-17 and pp. 239-50 (plus notes on pp. 499-501 and pp. 506-8).
  5. Günsberg, Maggie,  "Commodifying Passions: Gender and Consumerism in Commedia allʼitaliana", in Italian Cinema: Gender and Genre (Basingstoke: Macmillan, 2005), especially pp. 60-66 and 77-84.
  6. Paolini, Federico, ʻIl trafficoʼ, in Un paese a quattro ruote: Automobili e società in Italia (Venice: Marsilio, 2005), especially pp. 189-98 (plus notes on pp. 213-21).
  • Wednesday, June 13 - Christian Uva (Rome): Fantasy and Reality

Filmography

  1. Frank Tuttle, Roman Scandals, 1933
  2. Roberto Rossellini, Roma città aperta, 1945
  3. Pier Paolo Pasolini, Accattone, 1961
  4. Federico Fellini, Roma, 1972
  5. Ettore Scola, Una giornata particolare, 1977
  6. Peter Greenaway, The Belly of an Architect, 1987

Bibliography

  1. Michael Baumgartner, “A Walk Through R”: Peter Greenaway’s mapping of Rome in The Belly of an Architect,” in Cinematic Rome. Ed. Richard Wrigely. Leicester: Troubador Publishing, 2008. 143-172.
  2. Alessandro Cappabianca, “Pasolini a Roma: dal sogno all’incubo,” in Roma nel cinema. Ed. Americo Sbardella. Rome: Semar, 2000. 27-37.
  3. Bruno Di Marino, “Molti sogni per le strade. Immagini e immaginari di Roma nel cinema,” in Roma nel cinema tra realtà e finzione. Ed. Elisabetta Bruscolini. Rome: Centro Sperimentale di Cinematografia, 2006. 36-45.
  4. Margaret Malamud, "Swords-and-Scandals: Hollywood’s Rome During the Great Depression," in Arethusa 41.1 (Winter 2008): 157-183.
  5. Joanna Paul, “Rome Ruined and Fragmented: The Cinematic City in Fellini’s Satyricon and Roma,” in Cinematic Rome. Ed. Richard Wrigely. Leicester: Troubador Publishing, 2008. 109-120.
  6. Mark Shiel, “Imagined and Built Spaces in the Rome of Neorealism,” in Cinematic Rome. Ed Richard Wrigley. Leicester: Troubador Publishing, 2008. 27-42.
  7. Christian Uva, "Un borgo nelle metropoli. Una giornata particolare e Romanzo di un giovane povero di Ettore Scola." Inedito.

 

Week 2

  • Monday, June 18 - Alan O’Leary (Leeds): Popular Cinema

Filmography

  1. Carry on Cleo. Gerald Thomas, 1964.
  2. Eurotrip. Jeff Schaffer, 2004.
  3. Paparazzi. Neri Parenti, 1998.
  4. La polizia accusa: il servizio segreto uccide. Sergio Martino, 1975.
  5. S.P.Q.R. 2000 ½ anni fa. Carlo Vanzina, 1994.
  6. Year of the gun. John Frankenheimer, 1991.

Note - I don’t expect participants to have seen all the films listed for my session – I would suggest that you choose, instead, to spend time on the material that speaks to your own interests. This goes for the readings also: some of them I have included for purely informational reasons, because I have assumed the films (or the series they come from) are unfamiliar (e.g., the ‘Carry Ons’ and the ‘cinepanettone’). There are three pairs of films, one Italian and one non-Italian in each case:

  1. Two farces set in the Classical period: Carry on Cleo, S.P.Q.R. 2000 ½ anni fa;
  2. Two ‘offensive’ comedies: Eurotrip, Paparazzi;
  3. Two political thrillers: La polizia accusa: il servizio segreto uccide, Year of the gun.

I will also be posting YouTube versions of the clips I will discuss in my introduction in advance of the session (from the above list and from other films), in order that you can see the most relevant extracts.

Bibliography

  1. Marco Bertolino and Ettore Ridola, Massimo Boldi and Christian De Sica (Roma: Gremese, 2005), pp. 45-6.
  2. Paul C. Bonila, 'Is There More to Hollywood Lowbrow Than Meets the Eye?', Quarterly Review of Film and Video, 22 (2005), 17-24.
  3. Roberto Frini, Neri Parenti (Rome: Gremese, 2005), pp. 68-72.
  4. Marco Giusti, Entry on Paparazzi, from Dizionario dei film italiani stracult (Milan: Frassinelli, 2004), pp. 601-2
  5. Andy Medhurst, "Thirty nibbles at the same cherry: Why the 'Carry Ons' carry On", in A National Joke: Popular Comedy and English Cultural Identities (London: Routledge, 2007), pp. 128-43.
  6. Alan O'Leary, "On the Complexity of the Cinepanettone", in Italian popular Cinema, ed. by Louis Bayman and Sergio Rigoletto (Manchester: Manchester University Press, forthcoming 2012)
  7. ________Extracts from Tragedia all’italiana’: Italian Cinema and Italian Terrorisms, 1970-2010 (Oxford: Peter Lang, 2011), pp. 68-72 and 91-104.
  8. Andrea Pergolari, "La fisionomia del terrorismo nero nel cinema poliziesco italiano degli anni '70," in Schermi di piombo: il terrorismo nel cinema italiano, ed. by Christian Uva (Soveria Mannelli: Rubbettino, 2007), pp. 159-72
  9. ‘Secondavisione’ cinephile blog. Two entries as follows:

    Paparazzi
    S.P.Q.R. 2000 ½ anni fa
     
  10. Christian Uva, "Todo Moro," in Schermi di piombo: il terrorismo nel cinema italiano (Soveria Manelli: Rubbettino, 2007), pp. 69-77.
  11. Maria Wyke, Projecting the Past: Ancient Rome, Cinema, and History (London: Routledge, 1997), pp. 1-33.
  • Tuesday, June 19 - John Welle (Notre Dame): Silent Cinema

Filmography

  1. La presa di Roma (1905), Alberini & Santoni
  2. Agrippina (1911), E. Guazzoni
  3. Gli ultimi giorni di Pompeii (1913), M. Caserini
  4. Cabiria (1914), G. Pastrone
  5. L'Illustre attrice Cicala Formica (1920), L. D'Ambra

Bibliography

  1. Bertellini, Giorgio. "Italian Imageries, Historical Feature Films, and the Fabrication of Italy's Spectators in early 1900s New York." In American Movie Audiences: From the Turn of the Century to the Early Sound Era. Eds. M. Stokes and R. Maltby. London: BFI, 1999. 29-45.
  2. Dagrada, Elena, André Goudreault, and Tom Gunning. "Lo spazio mobile del montaggio e del carrello in Cabiria."  In Cabiria e il suo tempo. Eds. Paolo Bertetto and Gianni Rondolino. Milan and Turin: Museo Nazionale di Cinema, Il castoro, 1998. 151-83.
  3. D’Annunzio, Gabriele. “Del cinematografo considerato come strumento di liberazione e come arte di trasfigurazione“. In Giovanni Pastrone: Gli anni d'oro del cinema a Torino. Ed. Paolo Cherchi Usai. Turin: UTET, 1986. 113-22.
  4. de Vincentini, G. "Il kolossal storico-romano nell'immaginario del primo Novecento." Bianco e Nero, 49, 1 (1988): 7-26.
  5. Rhodes, John David. "'Our Beautiful and Gloroius Art Lives': The Rhetoric of Nationalism in Early Italian Film Periodicals." Film History Vol.12, n.3 (2000): 308-321.
  6. Tomadjoglou, Kim. "Rome's Premiere Film Studio: Societa' Italiana Cines." Film History Vol.12, n.3 (2000): 262-275.
  7. Turconi, Davide. "I film storici italiani e la critica americana dal 1910 alla fine del muto." Bianco & Nero, n.1-2 (gennaio-febbraio 1963): 40-54.
  8. Welle, John P. "'Avoid Giving Wine to Children': George Kleine's Correspondence with Cines and the Discourse of Uplift."  Networks of Entertainment: Early Film Distribution 1895-1915. Eds. Frank Kessler and Nanna Verhoef. Eastleigh, UK: John Libbey Publishing, 2007. 21-29.
  • Wednesday, June 20 - John David Rhodes (Sussex): urbanism

Filmography

  1. L’amore in città (Cesara Zavattini, et al, 1953)
  2. Accattone (Pier Paolo Pasolini, 1961)
  3. La luna (Bernardo Bertolucci, 1979)

Bibliography

  1. Kevin Lynch, The Image of the City (Cambridge, Mass.: MIT Press, 1960), pp. 1-13; 91-117.
  2. John David Rhodes, Stupendous, Miserable City: Pasolini's Rome (University of Minnesota Press, 2007), pp. 1-16; 40-74.
  3. John David Rhodes and Elena Gorfinkel, ‘Introduction: The Matter of Places’, in Rhodes and Gorfinkel, eds. Taking Place: Location and the Moving Image (University of Minnesota Press, 2011), pp. vii-xxi.
  4. Suggested: James Donald, Imagining the Modern City (Minneapolis, MN: University of Minnesota Press, 1999), pp. 1-26.

 

Week 3

  • Monday, June 25 - Noa Steimatsky (Chicago): memory

Principal Filmography

  1. Giorni di Gloria / Days of Glory (Mario Serandrei et.al., 1945)
  2. Roma città aperta / Rome Open City (R. Rossellini, 1945)
  3. Rifugiati a Cinecittà (Marco Bertozzi, 2011)
  4. Appunti Romani (Marco Bertozzi, 2004)
  5. Site Specific_Roma 04 (Olivo Barbieri, 2004)
  6. Netezza urbana (Michelangelo Antonioni ’48) – documentary short
  7. Attempted Suicide (Michelangelo Antonioni, 1953) – documentary short

Background Filmography

  1. Paisà (Rossellini, 1946)  Naples episode, Rome episode, Po Delta episode
  2. Germany Year Zero (Rossellini, 1948) – clips, during seminar
  3. Germany Year 90 Nine Zero (Jean-Luc Godard, 1991) – clips, during seminar
  4. Histoire(s) du cinéma (Jean-Luc Godard, 1988-1998) – clips, during seminar
  5. Celluloide (Carlo Lizzani, 1995)

Bibliography

  1. Nora, Pierre, "General Introduction: Between Memory and History," in Realms of Memory: Rethinking the French Past (New York: Columbia University Press, 1998), pp. 1-20.
  2. Portelli, Alessandro, The Order Has Been Carried Out: History, Memory, and Meaning of a Nazi Massacre in Rome (NY: Palgrave MacMillan, 2003), (from chapters 1 and 5), pp. 1-20, 97-115.
  3. Rogin, Michael P., "Mourning, Melancholia, and the Popular Front: Roberto Rossellini's Beautiful Revolution," in Sidney Gottlieb, ed. Roberto Rossellini’s Rome Open City (Cambridge University Press, 2004), pp.131-160
  • Tuesday, June 26 - Danielle Hipkins (Exeter) and Catherine O'Rawe (Bristol): gender

Filmography

  1. Three Coins in the Fountain (Negulesco, 1954)
  2. Only You (Jewison, 1994)
  3. When in Rome (Johnson, 2010)
  4. Eat, Pray, Love (Rome episode only) (Murphy, 2010)
  5. Le ragazze di Piazza di Spagna (Emmer, 1952)
  6. Il segno di Venere (Risi, 1955)
  7. Bianco e Nero (Comencini, 2008)

Bibliography

  1. Bowdre, Karen, ‘Romantic Comedies and the Raced Body’, in Stacey Abott and Deborah Jermyn (eds), Falling in Love Again: Romantic Comedy in Contemporary Cinema (London: I.B. Tauris, 2009), pp. 105-116
  2. Dyer, Richard, Review of Il segno di venere, in Handbook of Italian Cinema (ed. by Louis Bayman (Intellect, 2011)
  3. Gordon, Robert, ‘Cartoline da Roma. Hollywood, l’Italia e la città del turismo’, in ItaliAmerica: il  mondo dei media, ed. J. Schnapp and E. Scarpellini (Il Saggiatore, 2012), pp.11-34.
  4. Jermyn, Deborah, ‘I Love NY: The Rom-Com’s Love Affair with New York City’ in Falling in Love Again, pp. 9-24
  5. O’Healy, Aine, "[Non] è una somala": Deconstructing African Femininity in Italian Film," The Italianist, 29 (2009), 175-198
  6. Shandley, Robert, Hollywood's Postwar Tour of Europe (Temple University Press, 2009), chapter on Three Coins in the Fountain
  7. Small, Pauline, Sophia Loren: Moulding the Star (Bristol: Intellect, 2009), pp. 96-101
  • Wednesday, June 27 - Robert Gordon (Cambridge): tourism

Filmography

  1. To Catch a Thief (dir. A. Hitchcock, 1954)
  2. Roman Holiday (dir. W. Wyler, 1953)
  3. Three Coins in the Fountain (dir. J. Negulesco, 1954)
  4. La dolce vita (dir. F. Fellini, 1960)
  5. The Roman Spring of Mrs Stone (dir. J. Quintero, 1961)
  6. The Talented Mr Ripley (dir. A. Minghella, 1999)

Bibliography

  1. D. Bass, ‘Insiders and Outsiders. Latent Urban Thinking in Movies of Modern Rome’, in F. Penz and M. Thomas (eds.), Cinema and Architecture, London, BFI, 1997, pp. 84-100
  2. J. A. Clapp, ‘The Romantic Travel Movie, Italian-Style', Visual Anthropology, 22:1, 52-63
  3. D. Forgacs, ‘The In-crowd’, Sight and Sound, 11, 9 (ns), Sept 2001: pp. 30-33
  4. P. Krämer, “'Faith in Relations Between People': Audrey Hepburn, Roman Holiday and European Integration", in Diana Holmes and Alison Smith (eds), 100 Years of European Cinema.  Entertainment or Ideology? (Manchester: Manchester University Press, 2000), pp. 195-206
  5. A. Murphy, "Traces of the Flâneuse From Roman Holiday to Lost In Translation"Journal of Architectural Education (2006): pp. 33–42
  6. J. Urry, Introduction to The Tourist Gaze. Leisure and Travel in Contemporary Societies, London, Sage, 1990 [introduction to this or later editions]