CMAf17 Italian Cinema: Re-loaded. New Perspectives on Italian Screen Culture and Stardom

Filozofická fakulta
podzim 2025
Rozsah
2/0. 5 kr. Ukončení: zk.
Vyučováno kontaktně
Vyučující
Prof. Francesco Pitassio (přednášející)
Mgr. Petr Veinhauer (pomocník)
Mgr. Šárka Jelínek Gmiterková, Ph.D. (náhr. zkoušející)
Garance
Mgr. Šárka Jelínek Gmiterková, Ph.D.
Ústav filmu a audiovizuální kultury – Filozofická fakulta
Kontaktní osoba: Mgr. Šárka Jelínek Gmiterková, Ph.D.
Dodavatelské pracoviště: Ústav filmu a audiovizuální kultury – Filozofická fakulta
Rozvrh
Út 16. 12. 14:00–15:50 C34, 16:00–17:50 C34, St 17. 12. 12:00–13:50 C34, 14:00–15:50 C43, Čt 18. 12. 16:00–17:50 C34, 18:00–19:50 C34
  • Rozvrh seminárních/paralelních skupin:
CMAf17/01: Rozvrh nebyl do ISu vložen. Š. Jelínek Gmiterková, P. Veinhauer
CMAf17/02: Rozvrh nebyl do ISu vložen. Š. Jelínek Gmiterková, P. Veinhauer
Omezení zápisu do předmětu
Předmět je určen pouze studentům mateřských oborů.
Mateřské obory/plány
Cíle předmětu
This series of six lectures attempts to bring new angles to research and understand Italian cinema as a national cinema, both historically and in its current trends. Notably, the lectures will revolve around two major pivots, i.e., film acting and stardom, and non-fiction film production. They will delve into a revision of major paradigms and assumptions about Italian film production and its relations to international and transnational production, circulation, and identities.
The six lectures will be divided into two major blocs, each addressing distinct subjects, i.e., film stardom and performance, and non-fiction cinema. The lectures will address celebrated and renowned film productions and personalities, as well as more neglected, but revealing case studies, such as newsreel film production and contemporary documentary cinema.
Výstupy z učení
The lectures aim to give an understanding of the following issues:
The relationship between popular culture, professional training, style of performance, and film stardom/media celebrity.
The role non-fiction cinema played in fostering the culture of reconstruction and instructing the population in the transition to the modern era.
The shifting paradigm of non-fiction cinema in contemporary media culture, at the intersection of film heritage, auteur cinema, and film festivals’ branding.
Osnova
  • •TUESDAY DECEMBER 16th: NATIONAL/INTERNATIONAL/TRANSNATIONAL STARDOM
  • - Lecture 1 (14:00 – 15:50 [incl. 10 mins break])
  • Anna Magnani: legitimate theatre, revue, and realism. An issue of authenticity?
  • Bellissima (Luchino Visconti, 1951)
  • - Lecture 2 (16:00 – 17:50 [incl. 10 mins break)
  • Alida Valli: race, nation, transnationalism.
  • The Third Man (Carol Reed, 1950)
  • • WEDNESDAY DECEMBER 17TH: POPULAR, POPULIST, PERFORMER
  • - Lecture 3 (14:00 – 15:50 [incl. 10 mins break])
  • Non-professional performers, film culture, and the thorny issue of realism
  • Gomorra (Matteo Garrone, 2008)
  • - Lecture 4 (17:00 – 18:50 [incl. 10 mins break])
  • Checco Zalone: Popular culture, masculinity, transmedia celebrity
  • Quo vado? (Gennaro Nunziante, 2016)
  • • THURSDAY DECEMBER 18TH: DOCUMENTING REALITY
  • - Lecture 5 (14:00 – 15:50 [incl. 10 mins break])
  • Useful cinema, urban space, and the culture of reconstruction
  • Various excerpts available online
  • - Lecture 6 (17:00 – 18:50 [incl. 10 mins break])
  • Contemporary documentary, auteurism, modes of production/circulation
  • Guerra e pace (War and Peace, Massimo D’Anolfi e Martina Parenti, 2020)
Literatura
  • • Frick, Caroline. ‘Manufacturing Heritage. The Moving Image Archive and Media Industries Studies,’ in Jennifer Holt and Alisa Perren (eds), Media Industries. History, Theory, and Method (Hoboken: Wiley Blackwell, 2009), pp. 34-44.
  • Rigoletto, Sergio. ‘(Un)dressing authenticity: Neorealist stardom and Anna Magnani in the postwar era (1945–48),’ Journal of Italian Cinema and Media Studies, 6 (3) (2018), pp. 389-403.
  • • Giuliani, Gaia. Race, Nation, and Gender in Modern Italy. Intersectional Representations in Visual Culture (London: Palgrave Macmillan, 2019)
  • • Baron, Jamie. The Archive Effect. Found Footage and the Audiovisual Experience of History (London-New York: Routledge, 2014)
  • • Bonifazio, Paola. Schooling in Modernity. The Politics of Sponsored Films in Postwar Italy (Toronto: University of Toronto Press, 2014)
  • • O’Rawe, Catherine. The Non-Professional Actor: Italian Neorealist Cinema and Beyond (London: Bloomsbury, 2023)
  • Gundle, Stephen. ‘Alida Valli in Hollywood: From Star of Fascist Cinema to ‘Selznick Siren,’ Historical Journal of Film, Radio, and Television, 32 (4) (2012), pp. 559-587
  • GUNDLE, Stephen. Mussolini's dream factory : film stardom in fascist Italy. New York: Berghahn, 2013, xii, 320. ISBN 9781782382447. info
Výukové metody
Six lectures of this short intensive course will take place in the final week of the semester: December 15th - December 19th. Detailed schedule is displayed above in the course outline.
The course, as well as selected screenings, will take place in the screening room C34. Please note that student attendance is obligatory on all lectures and will be regularly checked. The attendance on screenings is highly recommended, but not obligatory.
Once the enrolment number reaches 74 or more, some students will have to take the classes online, through MS Teams. Further instructions regarding the capacities will be specified at the end of October, once the enrolment is closed.
Metody hodnocení
An open-book "test" consisting of three questions, each trio attached to a different deadline, and a homework vault. Each answer should be between 300 and 500 words, so the final word count should be between 900 and 1500. You must include a methodological framework in each answer.
You can write your answers in Czech, Slovak, or English.

To get an A grade, you must:
- Stay within the range with each answer
- Consult at least one piece of scholarship in each answer, preferably those from the reading list (but not limited to)
- Demonstrate a considerable depth of understanding of the topic as well as the ability to apply the key concepts when analysing a film or films, we will be screening throughout the course
- Use sophisticated and precise vocabulary and structure your answers (please no bullet points!)
- Have a near faultless typography and layout, plus exemplary citation and bibliography
Náhradní absolvování
Only for students of "Theory and history of cinema and AV culture" programme during their Erasmus stay abroad.
Vyučovací jazyk
Angličtina
Informace učitele
Francesco Pitassio is a professor of film studies at the Università degli Studi di Udine. He edited Writing and Image (Forum, 1998) and Multiple-language Versions III (2005) with Leonardo Quaresima, the Cinéma & Cie special issue ‘The Geopolitics of Cinema and the Study of Film’ (2013) with Tim Bergfelder and Vinzenz Hediger, and Popular Cinemas in East Central Europe: Film Cultures and Histories (I.B. Tauris, 2017) with Dorota Ostrowska and Zsuzsanna Varga. His books include Ombre silenziose (Campanotto, 2002), Maschere e marionette (Campanotto, 2002), Attore/Divo (Il Castoro, 2003) and Il cinema neorealista (with Paolo Noto, ArchetipoLibri, 2010). His research focuses on film theory, film acting and stardom, Italian film history and culture, documentary cinema and Central-Eastern European cinema.
Další komentáře
Studijní materiály
Předmět je vyučován jednorázově.
  • Statistika zápisu (nejnovější)
  • Permalink: https://is.muni.cz/predmet/phil/podzim2025/CMAf17