100年第2學期-0159 電影與文學：義裔美國文學與電影 課程資訊
|Weekly work, study questions||10||Written to engage with the chapter readings and/or handouts|
|essays, short responses||20||response to an issue or topic|
|Presentation||20||Based on research topic/project|
1. Recognize the historically and culturally important writers, actors and directors who have contributed to the development of Italian American literature and film, while gaining knowledge of their literary and filmic styles, genres, techniques, themes and cultural messages. Students will give evidence of having mastered such knowledge on tests, in essays, presentations, class work and discussions.
2. Gain knowledge of the particular issues surrounding Italian American immigration, assimilation, cultural marginalization, social solidarity and criminality as these are evidenced in Italian American literature and film. Students will give evidence of having mastered such knowledge on tests, in essays, presentations, class work and discussions.
3. Gain comprehension of how Italian Americans have expressed their cultural uniqueness through using the English language in ways that indicate their regional backgrounds, social statuses, assimilation issues, and struggles to maintain their heritage in at times prejudicial and hostile social environments. Students will give evidence of having mastered such knowledge on tests, in essays, presentations, class work and discussions.
4. Acquire knowledge of and demonstrate comprehension of critical and theoretical terms relative to both film and literary studies, such as intertextuality, semiotic, suture, film noire, parody, pastiche, satire, dialect, dialectic, hegemony, deconstruction, historicism, cinematography, mood, frame, setting, scene, characterization, performance, etc.
Film and Literature is an elective for third- and fourth-year students. This course aims to help the students contextualize the relationships between cinematic language and literary writing. By studying the texts of Sense and Sensibility, The English Patient, and The Hours, the students get to explore the themes and imageries of the novels first, and then venture to see how three internationally renowned movie directors visualize the stories. This is a course that enriches the students’ literary and visual experiences. Towards the end of the semester, the students will be encouraged to write a short story and make a short film out of it.
Office HourOffice: LAN Building, # 112- B Monday 2:00-4:00 PM; Tuesday 1:00-2:00 PM; and by appointment.
The overall course theme will emphasizes how Italian American writers, directors and actors inform mainstream American culture with critical and relevant views. Students will move through a series of readings from the primary text while instructor provides lecture and other material explaining background of and reflecting significance on the reading materials/topic areas. Students must present questions during class time relative to issues that they need to clarify and understand within the reading. A feature of this process will be keying on known and apparent examples drawn from media and everyday life, relative to the concerns of the text.
Pietro Di Donato, Christ in Concrete (1937). New York: NAL Trade (Penguin), 2004
Mario Puzo, The Godfather (1969). New York: NAL Trade, 2002.
Giose Rimanelli, Benedetta in Guysterland: A Liquid Novel (1993).
Toronto: Guernica Editions, 1993. (uncertain order status)
Paola Corso, Giovanna’s 86 Circles: And Other Stories Madison: University of Wisconsin Press, 2007.
(uncertain order status)
Don DeLillo, Point Omega (2010). Reprint edition. New York: Scribner, 2010.
Films: The Godfather (1972), Dir. Francis Ford Coppola
Gangs of New York (2002), Dir. Martin Scorsese
Handouts on Italian American culture, literature, film and criticism, by writers such as Jay Parini, Anthony J. Tamburri, Fred Gardaphe, etc.
The Godfather, pt. 1, Dir. Francis Ford Coppola (1972)
Gangs of New York, Dir. Martin Scorsese (2002)
Alternatives: Raging Bull, Dir. Francis Ford Coppola (1980); Carlito’s Way, Dir. Brian De Palma (1993);
Donnie Brasco, Dir. Mike Newell (1993)