Degree | Type | Year | Semester |
---|---|---|---|
2501801 Catalan and Spanish Studies | OT | 3 | 1 |
2501801 Catalan and Spanish Studies | OT | 4 | 1 |
2501902 English and Catalan Studies | OT | 3 | 1 |
2501902 English and Catalan Studies | OT | 4 | 1 |
2501907 English and Classics Studies | OT | 3 | 1 |
2501907 English and Classics Studies | OT | 4 | 1 |
2501910 English and Spanish Studies | OT | 3 | 1 |
2501910 English and Spanish Studies | OT | 4 | 1 |
2501913 English and French Studies | OT | 3 | 1 |
2501913 English and French Studies | OT | 4 | 1 |
There are not particular academic prerequisites to take this subject.
This subject aims to provide the student with a grounding in the study of Italian cinema and its relationships with literature. It aims to provide a first set of orientative tools necessary to a basic approach to the reading and/or viewing of the works selected to be analyzed. This should make him / her able to further tackle new examples in a wider context within the frame of the subject’s panoramic perspective.
Therefore , on successfully completing this subject, students will be able to:
-know the main lines of the history of Italian cinema and its relationhip with literature.
- identify works of both the literary authors dealt with, together with their place in the canon of the italian literature, and the most relevant figures of italian cinema.
- differentiate the most relevant features of the cinematographic language with regard to the films discussed during the course.
- analyze and evaluate the strategies of filmic adaptation of the literary works commented during the course.
- analyze a given example of study, compare different versions of a work, develop a reasoned commentary on a fragment of a particular adaptation
The course aims to provide an overview of a fascinating area of cultural history (Italian cinema), from the perspective of its interaction with literature.
Overview of the most basic tools of film studies, focusing on both the debate on the typology of the relationship between the languages of cinema and literature, and the analysis of some Italian examples.
Overview of the story of Italian cinema from its birth to the most recent films, its most relevant authors and genres, as well as its periods and their related historical contexts. As the subject seeks to underscore expressive and methodological links between film representations and literary texts, it will necessarily deal with some of the most important authors of italian literary canon too.
The subject is based both on the viewing of fragments (or their totality) of some Italian cinematographic works, and the reading of fragments (or their totality) of some literary works. Particular attention will be given to the aesthetic, ideological and gender-related aspects they carry with.
PROGRAM
1. Overview. History of Italian literature and cinema. Literature and cinema.
1.1 Il Conformista. Totalitarianism, identity, gender?
2. Italian classics on the screen. Dante.
2.1 The Decameron, culture and pandemics.
3. The great authors of Italian cinema.
3.1 Il Gattopardo. Art, elegy and historical critique. The South as a myth?
4. Beyond the "padri e maestri": recent Italian cinema.
Italian Erasmus students please read the instructions in the 'Assessment' section.
The subject of Italian Cinema and Literature is theoretical-practical. In general terms, learning activities are organised as follows:
-Directed activities: master class; collective discussion; reading, interpreting and commenting on texts.
- Supervised activities: individual and group exercises, both written and oral; reading, interpreting and commenting on texts.
- Autonomous activities: exercises on the course’s Moodle; preparation for the tests; readings, writing, search of documentation...
- Class exchanges (teacher-student, student-student)
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Lessons, theory and practice | 25 | 1 | 7, 6, 3, 2, 9 |
Texts reading and commentary | 25 | 1 | 1, 5, 9, 8, 11 |
Type: Autonomous | |||
Study: texts, materials, bibliography | 30 | 1.2 | 9 |
Texts reading and commentary | 15 | 0.6 | 1, 5, 9, 8, 11 |
Assesment is continuous (100%) and based on the following sections:
- Follow-up and participation in class 20%.
- Reviews / Essais on some films / books (3) 60 %
- Synthesis test 20%.
- Students are allowed to retake activities they have not passed only if they have already taken at least 2/3 of the overall activities, and they have an average grade of at least 3.5.
- To receive the final grade, it is required to pass all the components subject to re-assessment.
- Students will receive a grade of “Not Evaluable” if s/he has not submitted more than 30% of the graded activities.
- In-class activities are excluded from re-evaluation.
-Participation assesment may include as well the attendance to cultural activities eventually proposed by the professor.
- Re-assessment will consist of a written exam.
- Before posting the final grades, and prior to record them on the transcripts, the professor will provide date and time for the written re-take exam.
- Students are fully responsible for checking all their graded activities/exams.
- Italian Erasmus students have to consult the professor about the criteria for their evaluation in the first week of class. Students will receive a list of complementary readings (critical essays and texts), and the professor will specify the work to be done.
- If a student commits any irregularity that lead to a significant variation of the grade in any activity, s/he will be given zero for this activity regardless of any disciplinary process that may follow up. In the event of several irregularities, the student will be given zero as final grade for the subject.
- In the event that tests or exams cannot be taken onsite, they will be taken online through the UAB online tools (original grade weighting will be maintained). Homework, activities, and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these remote tools, and/orwill offer feasible alternatives.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Participation during the course: attendance, team and individual activities etc. | 20 | 20 | 0.8 | 1, 13, 12, 10, 4, 5, 7, 6, 3, 2, 9, 8, 14 |
Reviews, written works and oral presentations relating to the works object of analysis. 1 | 20 | 10 | 0.4 | 1, 10, 4, 7, 6, 3, 2, 9, 8, 11, 14 |
Reviews, written works and oral presentations relating to the works object of analysis. 2 | 20 | 10 | 0.4 | 1, 10, 4, 7, 6, 3, 2, 9, 8, 11, 14 |
Reviews, written works and oral presentations relating to the works object of analysis. 3 | 20 | 10 | 0.4 | 1, 10, 4, 7, 6, 3, 2, 9, 8, 11, 14 |
Synthesis test | 20 | 5 | 0.2 | 1, 7, 6, 3, 2, 9, 8, 11, 14 |
Resource works:
David Bordwell, Kristin Thompson, Film Art. An introduction, Mc Graw Hill, New York 1997.
David Thomson, Instrucciones para ver una película, Pasado & presente, Barcelona 2015.
James Wood, How Fiction Works, Vintage Random House, London 2009.
Phillip Novak, Interpretation and Film Studies: Movie Made Meanings, Cham, Springer International Publishing, 2020.
Annalisa Mirizio, Los Antimodernos del cine : una retaguardia de la vanguardia, Madrid, Pigmalión Edypro, 2014.
Carlos Losilla, La invención de la modernidad o cómo acabar de una vez por todas con la historia del cine, Cátedra, Madrid 2012
José María Caparrós Lera, Guía del espectador de cine, Alianza, Madrid 2007.
History of the Italian cinema
Gian Piero Brunetta, Cent’anni di cinema italiano (2 voll.), Laterza, Bari 2000
Italian cinema and literature
Carlo Tagliabue, Cinema e letteratura italiana, Guerra, Perugia 1990;
Vito Attolini, “Dal romanzo al set. Cinema italiano dalle origini ad oggi”,Edizioni Dedalo, Bari, 1988
Antonella Braida, Luisa Calè (ed.), Dante on view. The reception of Dante in the visual and performing arts, Aldershot, Ashgate, 2007, pp. 177-192
Irmgard Scharold, Dante intermedial. Die "Divina Commedia" in Literatur und Medien, Würzburg, Königshausen & Neumann, 2022
Stefano Lazzarin, Jérôme Dutel (ed.), Dante pop. La "Divina Commedia" nella letteratura e nella cultura popolare contemporanea, Manziana (Roma), Vecchiarelli, 2018
Paolo Speranza, Dante e il cinema. I film ispirati allavita e alle opere dell'autore della «Divina Commedia», Roma, Gremesse, 2021.
Francesco Tigani Sava, Dante Alighieri scrive il cinema. Una lettura "cinematica" della "Divina Commedia", Catanzaro, Edizioni Max, 2007
Cinema and literature:
Giacomo Manzoli, “Cinema e Letteratura”, “Le bussole” Carocci, Roma, 2003
Carmen Peña Ardid, Literatura y cine, Catedra, Madrid 1992;
Gian Piero Brunetta, “Letteratura e cinema”, Zanichelli, Bologna, 1976
Francisco Gutiérrez Carbajo, Literatura y cine. Madrid, UNED (Educación Permanente), 1993.
Antonio Costa, Immaginedi un'immagine. Cinema eletteratura, UTET, Milano 1993;
Film adaptation:
A. Fumagalli, Ivestiti nuovi del narratore. L’adattamento da letteratura a cinema, Il Castoro, Mi, 2004
José Luis Sánchez Noriega, De la literatura al cine. Teoría y análisi de la adaptación, Paidós, Barcelona, 2000;.
Juan M. Company, El trazo de la letra en la imagen. Texto literario y texto fílmico, Cátedra.Signo e Imagen,Madrid 1987;
Umberto Eco, I Limiti dell'interpretazione, Bompiani, Milano 1980;
Theories:
Seymour Chatman, Historia y discurso. La estructura narrativa en la novela y el cine [1978],Taurus, Madrid, 1990
Enric Sullà, Teoría de la novela. Antología de textos del soglo XX, Crítica, Barcelona,1996
Pier Paolo Pasolini, Empirismo eretico[1972], Garzanti, Milano
Film analysis
Francis Vanoye, Anne Goliot-Leté, Principios de análisis cinematográfico, Abada, Madrid 2008
RamónCarmona, Cómo se comenta un texto fílmico, Cátedra,Madrid 1993;
Francesco Casetti – Federico Di Chio, “Como analizar un film”, Traducción de Carlos Losilla, Ed. Paidos Iberica, Barcelona, 1994 (F. Casetti – F. DiChio, “Analisi del film”, Bompiani, Milano,2003)
M. Martín, El lenguaje del cine, Barcelona,Gedisa, 2008.
Roberto C. Provenzano, Il linguaggio del cinema. Significazione e retorica, Lupetti, Milano, 1999
Alexis Racionero, El llenguatge cinematogràfic, Barcelona, UOC, 2008
No particular software is required, except for the most common Office tools (i. e. word processor, etc.,) email account, an updated browser, MS Teams for online sessions if needed.