Purpose of the Symposium: The present symposium, entitled “The Cinema of Ettore Scola,” will offer a new look at one of Italy’s most famous Italian filmmakers and authors (1931- 2016). Its purpose is to gather experts of Italian cinema, of different backgrounds, who will contribute to the scholarly understanding of Scola’s cinema and his legacy. The symposium will serve as a launching platform for a future book publication: an edited volume of essays on Scola’s cinematographic career. This volume – the first in English dedicated to Scola – will provide an analytical overview of how Scola’s films contributed to subsequent major cinematographic trends and how his films were (and continue to be) understood in relation to Italian cinema. To accomplish this ambitious goal, the symposium will bring together scholars from Italy, France, Canada, the Netherlands, the United Kingdom and the United States who will provide an eclectic and original series of case studies. These studies will analyze aspects of film form, narratives, and the different genres used by Ettore Scola to explore not only his major interpretive approaches, but also his collaboration with other major Italian filmmakers and authors such as Federico Fellini, Mario Monicelli, Luigi Comencini and Dino Risi as well as screenwriters such as Furio Scarpelli, Cesare Zavattini, Bernardino Zapponi and Ruggero Maccari.

Date: Saturday 22 and Sunday 23, 2016

Location: Casa Artom Wake Forest University Casa Artom - Venice Campus Dorsoduro 699, 30123, Venezia Phone: 011 39 041 5222709 [email protected] www.wakeforestvenice.com

CONFERENCE ORGANIZERS: Rémi Lanzoni ([email protected]) Edward Bowen ([email protected])

Conference Speakers: The Symposium is free and open to the public. The sessions (held in Italian and/or in English) will be conducted in a variety of different formats: from 15-20 minute presentations to round table discussions, to facilitate debate and the participation of the public.

- Gian Piero Brunetta (Università degli Studi di Padova)

- Millicent Marcus (Yale University)

- Jacqueline Reich (Fordham University)

- Jean Gili (Université Paris 1 Panthéon-Sorbonne)

- Catherine O'Rawe (Bristol University)

- Sergio Rigoletto (University of Oregon)

- Pierre Sorlin (Université Paris III—Sorbonne Nouvelle)

- Christian Uva (Università Roma Tre)

- Andrea Bini (American University of Rome)

- Valerio Caprara (Università di Napoli)

- Linde Luijnenburg (University of Warwick)

- Carlo Mandolini (Collège André-Grasset)

- Mariapia Comand (Università di Udine)

- Vito Zagarrio (Università Roma Tre)

- Rémi Lanzoni (Wake Forest University)

- Fabrizio Cilento (Messiah College)

- Edward Bowen (University of Kansas)

- Nicoletta Marini-Maio (Dickinson College)

Symposium Ettore Scola

Friday 21 October 2016

6:30 pm Screening La più bella serata della mia vita (Dir. Ettore Scola, 1972) 8:30 pm Light refreshments

Saturday 22 October 2016

8 – 8:45 am Coffee and Pastries Reception 8:45 – 9 am Opening Remarks Rémi Lanzoni and Edward Bowen 9– 10.15 am Nostalgia & Place Chair: Federico Luisetti (Panel in Italian) Pierre Sorlin Nostalgia in the Films of Ettore Scola Université Paris III La nostalgia nel cinema di Scola Christian Uva Scola and Digital Technology: From the Invention of Università Roma Tre Place to (Video) ‘Camera Pen’ in History, Memory and Interpretation of the Present Scola e la tecnologia digitale: dall’invenzione del luogo alla (video) caméra-stylo tra storia, memoria e interpretazione del presente Carlo Mandolini Symbolic Place in the Cinema of Ettore Scola College Grasset Montreal La symbolique du lieu chez Ettore Scola 10:30-11am COFFEE BREAK

11 – 11:45 am Keynote Presentation (in Italian) Gian Piero Brunetta Dancing and Toasting with the Muses at Scola’s House Università di Padova Ballando e brindando con le Muse a Casa Scola 12– 1:45pm LUNCH (for presenters)

1:45 – 3:00pm Stardom & Masculinity Chair: Edward Bowen (Panel in English) Jacqueline Reich Scola and Male Stardom Fordham University Fabrizio Cilento We All Loved Each Other So Much and the Evolution of Messiah College the Comedy Italian Style Sergio Rigoletto The Odd Couple and the Undoing of Film Romance University of Oregon in A Special Day 3:15 - 4:15pm Round Table Millicent Marcus & Rémi Lanzoni for WFU students (Discussion in English) 4:30 - 5:45pm Scola’s Legacy Chair: Sergio Rigoletto (Panel in English)

Edward Bowen Scola’s Legacy: A Statesman for Italian Cinema University of Kansas Screening ’43-’97 by Ettore Scola (9 minutes) Millicent Marcus The Long Journey of a Short Film: Scola’s ’43-‘97 Yale University Un cortometraggio con un lungo tragitto: ’43-’97 di Ettore Scola 6:45 – 8:15pm BREAK 8:15pm BANQUET ( for presenters )

Sunday 23 October 2016

8:00 - 9:00am Coffee and pastries 9:00 - 10:15am Commedia all’italiana I Chair: Jacqueline Reich Andrea Bini Models of Fatherhood in Ettore Scola’s Cinema American Univ. of Rome Paternità in Scola e nella Commedia all'italiana Rémi Lanzoni Postmortem Identification: ‘Elogio funebre’ in The Wake Forest University New Monsters 10:45am-12pm Historical Representations Chair: Pierre Sorlin (Panel in Italian) Jean Gili Ettore Scola and French History Université Paris I Ettore Scola e la storia di Francia Vito Zagarrio Scola and History of Postwar Italy Università Roma Tre Scola e la storia del dopoguerra in Italia 12:00 - 1:30pm LUNCH BREAK

1:45 - 2:45pm Commedia all’italiana II Chair: Federico Luisetti (Panel in Italian) Valerio Caprara Scola vs. Scola Università di Napoli Scola contro Scola Mariapia Comand Scola’s Touch: Scola sceneggiatore per Pietrangeli. Università di Udine 3:00 – 4:00pm Scola Between Politics and Chair: Christian Uva (Panel in English) Genres Nicoletta Marini-Maio Sentenced to Death: The Proto-Berlusconi of Ettore Dickinson College Scola’s La più bella giornata della mia vita (1972) Linde Luijnenburg Ettore Scola Deconstructionist: His Post-Colonialist, University of Warwick Genre, Gender and Culture Critique 4:30pm Aperitivo in centro

CASA ARTOM, WAKE FOREST UNIVERSITY

The symposium will take place in the magnificent Casa Artom during the Fall 2016. In 1971 Wake Forest University acquired what was once the American consulate in Venice. In 1974 the University purchased the property from the American government, and it was dedicated to the memory of Dr. Camillo Artom, who had fled Fascist Italy and become a doctor and biochemical researcher at Wake Forest’s medical school. His Director of the Venice Program.

The Symposium on Ettore Scola at Casa Artom will offer a brand new study on Italian cinema. Its central discussion will attempt to answer seminal questions to gain a more comprehensive vision of the different genres that Scola used in his filmic career, such as comedy and drama: what is the inspiration and influence of Scola’s early comedies, satires, and grotesque parodies? What is the relationship between comedy and narratives? Why do Scola’s comedies almost always include a minor yet significant dosage of (un)predictable tragedy? Does Scola’s filmmaking merely represent the product of literary ingenuity or the visual record of a quotidian human experience? Do Scola’s tales have any significance with regard to morality, human psychology, or any other realm of philosophical reflection? Can a narration or screenplay enlighten the readers/spectators about the complexities of human struggle? The second goal for the Scola’s Symposium despite a series of original contributions, is an opportunity for the intellectual exchange that will create unity, fluidity and points of reference among the participants’ essays.

ETTORE SCOLA. Internationally known as a filmmaker and screenwriter, Ettore Scola’s career includes some of the best known Italian films such as A Special Day (1977), including Sophia Loren and Marcello Mastroianni and We All Loved Each Other So Much (C'eravamo tanto amati, 1974). His cinema is often considered unadulterated renderings of Italian people. His inherent pessimism, a direct result of the changing times of the 1960s and 1970s, pervaded his films and social vision, heralding a new type of cinematic anxiety and outrage. When used in comedic contexts, Scola realized that cynicism, irony, malevolence and cruelty, a series of devices previously only employed in dramas, triggered the opposite reaction: humor. Four of Scola’s feature films earned Oscar nominations: “Una giornata particolare” (A Special Day) in 1977; “I nuovi mostri” (Viva Italia!) in 1978; “Ballando ballando” (Le Bal) in 1983; and “La Famiglia” (The Family) in 1988. As a script writer, Scola is considered like “Il sorpasso” (The Easy Life) and “I mostri” (The Monsters) or “Io la conoscevo bene” (I Knew Her Well). From his beginnings as a satirical writer for ‘Marc’Aurelio,’ to his last tribute to his Federico Fellini (How Strange to be Named Federico), which was presented at the Venice Film Festival last year, Scola has earned recognition as one of the most important authors of Italian cinema. In the 1976 Cannes Film Festival, Scola won Best Director Award for Brutti, sporchi e cattivi and in 1978 the Golden Globe for Best Foreign Film for A Special Day as well as an Academy Award nomination for the same film. Ettore Scola’s production includes the following films:

Se permettete parliamo di donne (1964) La congiuntura (1965) Passione d'amore (1981) L'arcidiavolo (1966) La Nuit de Varennes (1982) Il Commissario Pepe (1969) Le Bal (1983) Permette? Rocco Papaleo (1971) Maccheroni (1985) La più bella serata della mia vita (1972) La famiglia (1987) Trevico-Torino (viaggio nel Fiat-Nam) (1973) Splendor (1988) C'eravamo tanto amati (1974) Che ora è? (1989) Signore e signori, buonanotte (1976) Il viaggio di Capitan Fracassa (1990) Brutti sporchi e cattivi (1976) Romanzo di un giovane povero (1995) Una giornata particolare (1977) La cena (1998) "Viva Italia!" I Nuovi Mostri; 1977) Concorrenza sleale (2001) L'ingorgo - Una storia impossibile (1978) Gente di Roma (2003) La terrazza (1980) Che strano chiamarsi Federico! (2013)

DIRECTIONS TO CASA ARTOM

FROM THE AIRPORT: There are several ways to get to the city center from the Venice airport Marco Polo: WATER TAXI: speedboats docked just outside of the terminal can whisk up to five passengers and their luggage directly to Casa Artom for about 110 euros. Call Casa Artom if you intend to arrive this way, as someone must unlock the Grand Canal entry way. WATER BUS ALILAGUNA: a large boat that can accommodate around forty passengers. You must take the “blue line” which passes through the Lido and San Marco and costs 15 euros. In about one hour and twenty minutes, it takes you to the Zattere, about 10 minutes walk from Casa Artom. There is one every hour but check on the website, as the timetable could vary: http://www.alilaguna.it/ When you get off at the Zattere stop, ask for the Guggenheim Museum, as Casa Artom is next door. GROUND TRANSPORT: you can get to Venice via taxi, city bus or airport blue bus. These take you to Piazzale Roma. From there you Grand Canal in either direction. Ask for “vaporetto” no. 1 direction ACCADEMIA. In about 25 minutes you need to get off at the Accademia vaporetto station, then ask for Guggenheim Museum, which is next door to Casa Artom. The Guggenheim has a distinctive wrought iron gate, which forms a right angle with No. 700, Wake Forest’s Casa Artom.

FOR MORE INFORMATION ON THE ETTORE SCOLA SYMPOSIUM AT CASA ARTOM PLEASE CONTACT REMI LANZONI ( [email protected] )

We thank our sponsors for their generous support and our collaborators:

Kline Harrison, Associate Provost for Global Affairs Michele Gillespie, Dean of the College of Arts & Sciences Rogan Kersh, Provost Peter Kairoff, Director of Casa Artom Peter Bondanella, Emeritus Professor, Indiana University Laura Graziano and Roberta Cimarosti, Casa Artom