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DIVAS, STARDOM, and CELEBRITY in MODERN ITALY Professor Allison Cooper ­ [email protected] ­ 207.798.4188 ­ Dudley Coe 207

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DIVAS, STARDOM, and CELEBRITY in MODERN ITALY Professor Allison Cooper ­ Acooper@Bowdoin.Edu ­ 207.798.4188 ­ Dudley Coe 207 Spring, ‘18 ITAL/CINE 3077 Class meetings: Mondays, 6:30-9:25 pm in Mass Hall 105, McKeen Study Office hours: Mondays and Wednesdays, 3-4 pm and by appointment in Dudley Coe 207 DIVAS, STARDOM, AND CELEBRITY IN MODERN ITALY Professor Allison Cooper ­ [email protected] ­ 207.798.4188 ­ Dudley Coe 207 Before there was Beyoncé there was Borelli; before Clooney there was Mastroianni; before Trump there was Berlusconi. The diva derives from Italy’s nineteenth-century opera, silent film, and Catholic culture. Today, she has evolved into a secular alternative to traditional female religious icons such as the Madonna and the Magdalene. Alongside the figure of the diva is that of her historical male counterpart, the divo, initially a sort of demigod in early Italian cinema who has now come to reflect contemporary Italy’s crisis of masculinity. Beyond their origins and evolution, the diva, divo, and modern star can ultimately be defined as performers who know how to play any role while superimposing their own image onto a character. “Divas, Stardom, and Celebrity in Modern Italy” examines in detail the question of how those images have been constructed, transmitted, and received from the late nineteenth century to the present day. A number of related questions will inform the course: How do different genres and modes of Italian film, from silent film, talkies, fascist propaganda films, and neorealism to comedy Italian style, the spaghetti western, and the horror film construct stars differently? How does stardom depend upon publicity, promotion, criticism, and gossip? How do Italy’s particular historical and social contexts inflect the ideological meanings attributed to stars, stardom, and celebrity? What does the marketing of stars to different audiences – domestic Italian consumers of popular cinema, for example, or international consumers of so-called European art cinema – reveal about the film industry and film genre? How does the construction and appeal of stars in the United States compare to what has occurred in Italy? What insights does the study of stars and stardom yield about theories of spectatorship, audience identification, and fandom? What insights does the study of celebrity and stardom provide into modern electoral politics, as exemplified by media-tycoon-turned-Prime-Minister Silvio Berlusconi (or, closer to home, Ronald Reagan, Arnold Schwarzenegger, and Donald Trump)? The course also examines the intermediality of stardom and celebrity in contemporary Italy: the ways, that is, in which stars and celebrities are produced by the convergence of digital media, print media, and other agents associated with today’s culture industry. How has the rise of television and streaming media changed the nature of stardom and celebrity? What does it reveal about the relationship of film stardom to stardom and celebrity across newer media, including television and streaming platforms? Course Requirements and Grading Basis 25% Participation (attendance, class discussions, collaborative glossary) 15% Scene analysis (The Young Pope) (750-1,000 words / approximately 3-4 double-spaced pages) due Feb 9 15% Oral presentation (deadlines vary) due April 2, 9, and 16 5% Research paper abstract and preliminary bibliography due Mar 9 20% Biography (3,000 words / approximately 12 double-spaced pages) due Apr 20 20% Audiovisual essay (Video essay accompanied by 1,500-word supporting essay, including filmography and bibliography), due May 15. 1 Spring, ‘18 Participation Students are expected to attend class regularly and to engage thoughtfully with films and other media, readings, assignments, and class discussions. Practice active viewing and reading: some films may require more than one viewing, just as some texts may require more than one reading. Take notes on all ‘texts’ – visual or written – and bring questions or comments to class about each one on the day we will be discussing it. Contribute one definition per reading assignment to the class’s collaborative annotated dictionary online (https://docs.google.com/document/d/1o3V-8DawswDB5XsTYGY8F97Sh9MJIGfnkfz- AQ12AQQ/edit?usp=sharing). Finally, please note that due to the once-a-week meeting format of the seminar you are permitted just one discretionary absence per semester. Anything beyond that will negatively impact your final grade, which will be lowered by 1/3 letter grade for each additional absence. Presentations and Papers One presentation on a critical text related to star studies and a research paper on an Italian diva, star, or celebrity form the basis for a final project, the audiovisual essay (described below). Students will meet with Bowdoin’s research librarian for Italian and Cinema Studies, Carmen Greenlee ([email protected]), to develop strategies for using library and online resources efficiently and effectively. Audiovisual Essay Traditionally a five- to ten-minute online video that brings together footage from one or more films accompanied by voiceover narration, the audiovisual essay analyzes moving images in a medium that is, in many regards, better suited to conveying a media-based argument than the written word. In ITAL/CINE 3077, students will find and utilize film footage, along with photographs and images from periodical archives, to create compelling audiovisual essays that advance a well-defined argument about a particular Italian star or celebrity. Examples include: 1. Marilyn Monroe (Bryn Hewko and Aaron Taylor) http://mediacommons.futureofthebook.org/intransition/2016/11/22/thinking-through-acting- performative-indices-and-philosophical-assertions 2. Robin Williams (Tony Zhou) https://vimeo.com/tonyzhou/robinwilliams 3. Buster Keaton (Tony Zhou) https://vimeo.com/tonyzhou/busterkeaton Courtesy in the Classroom Please be respectful of our time together by silencing and putting away your phone before class begins. Laptops may only be used with the permission of the instructor, and then only for the purpose of taking notes. Finally, please eat and visit the restroom before or after class, or in the break, instead of during it. Academic Honesty As a matriculated Bowdoin student you have agreed to abide by the College’s Academic Honor Code, and acknowledge your commitment to it each time you submit academic work at the College. If you are uncertain about whether or not your work is in compliance with the Code, you are encouraged to re-read it at http://www.bowdoin.edu/studentaffairs/student-handbook/college-policies/index.shtml, or to consult with me prior to turning in your work. 2 Spring, ‘18 Television Series and Films These series / films are the primary texts of the course and, as such, you should expect to consult them beyond required class screenings as you prepare written and audiovisual assignments. Unless otherwise indicated, you can watch them by first downloading them from the course folder for ITAL 3077 on Microwave, Bowdoin’s internal file storage system, and then opening them with a media player such as QuickTime or VLC Media Player. To access the Microwave folder, follow the instructions online at https://bowdoin.teamdynamix.com/TDClient/KB/ArticleDet?ID=21635, and click on the “Materials” folder once you are inside our ITAL 3077 folder. Please note that these media files are to be used solely in the context of our course and, in accordance with copyright restrictions and best fair use practices, are not to be circulated. 1. The Young Pope (Paolo Sorrentino, 2016) 2. Diva Dolorosa (Peter Delpeut, 1999) 3. Cabiria (Giovanni Pastrone, 1914) 4. Maciste clips (http://www2.museocinema.it/collezioni/maciste/main.html) 5. Everybody’s Woman [La signora di tutti] (Max Ophüls, 1934) 6. Bellissima (Luchino Visconti, 1951) 7. La dolce vita (Federico Fellini, 1960) 8. Marriage, Italian Style [Matrimonio all’italiana] (Vittorio De Sica, 1964) 9. A Fistful of Dollars [Per un pugno di dollari] (Sergio Leone, 1967) 10. Romanzo criminale (Michele Placido, 2005) 11. Videocracy (Erik Gandini, 2009) (https://bowdoin.kanopystreaming.com/video/videocracy) 12. Silvio Forever (Roberto Faenza and Filippo Macelloni, 2011) 13. Blaxploitalian (Fred Kudjo Kuwornu, 2016) 14. Reality (Matteo Garrone, 2012) 15. A Special Day [Un giorno speciale] (Francesca Comencini, 2012) Texts Required texts include Anna Cento Bull’s Modern Italy: A Very Short Introduction (Oxford University Press, 2016) and Robert Spadoni’s A Pocket Guide to Analyzing Films (U of California Press, 2014). Students with little or no previous coursework on Italy should plan on reading Modern Italy by the end of the third week of the semester, whereas students with little or no previous coursework on cinema should plan on reading A Pocket Guide to Analyzing Films by the end of the third week of the semester. Weekly readings will be available on our course Blackboard site https://blackboard.bowdoin.edu./. Archival Resources Students may find the following online archival resources helpful in their research on the films, stars, and directors, studied this semester. Italian-language sources are indicated with an asterisk (*). * National Newspapers in Italy La Stampa Archivio Storico (http://www.lastampa.it/archivio-storico/index.jpp) Photography and Film Archives Archivio Storico Luce (http://www.archivioluce.com/archivio/) Alinari Archives (http://www.alinariarchives.it/it/) Il Museo Nazionale del Cinema (http://www.museocinema.it/collezioni/Default.aspx?l=en) 3 Spring, ‘17 Course Bibliography Students are encouraged to consult the following works in their research on the films, stars, directors, and concepts
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