1 MILLICENT MARCUS 34 Pickwick Road Hamden, CT. 06517 Tel.(203) 230-3045 (home) Tel.(203) 432-0599 (office) Fax(203) 432-2164 PROFESSIONAL ADDRESS: Department of Italian Language and Literature 82-90 Wall Street (Room 426) Yale University P.O. Box 208311 New Haven, CT 06520-8311 ACADEMIC TRAINING: Ph.D., Yale University, 1974. (Italian) B.A., Cornell University, 1968. (English) PROFESSIONAL EXPERIENCE: Professor of Italian, Yale University, 9/05 to the present Mariano DiVito Professor of Italian Studies, The University of Pennsylvania, 9/98 to 8/05 Emilio Goggio Visiting Professor, University of Toronto, 2/23/03- 4/11/03 Professor of Italian, The University of Texas at Austin, 9/87 -/98 Visiting Professor for Italian Studies Summer Institute in Florence, University of Pennsylvania and Bryn Mawr College, Summer 1987, 1988, 1989, 1991, l993, l995. Visiting Professor, Syracuse in Italy Program, 9/86-5/87 Associate Professor, The University of Texas at Austin, 9/80-8/87 Assistant Professor, The University of Texas at Austin, 9/74-8/80 Assistant Director, University of Colorado, Study Abroad Program, Siena, Italy, 2/79- 6/79 Instructor, The University of Texas at Austin, 9/73-6/74 Teaching Fellow, Yale University, 9/72-6/73 HONORS, FELLOWSHIPS & GRANTS: o Premio Flaiano for After Fellini o Presidential Book Prize awarded biennially by American Association of Italian Studies, l995 for Filmmaking by the Book (also selected as one of Choice's "Outstanding Academic Books for l993") o Getty Senior Research Grant, 9/93 - 8/94 o President's Associates Award for Teaching Excellence, l992 2 o Guggenheim Fellowship, 1989-1990 o Howard R. Marraro Prize awarded biennially for book on Italian Studies by the Modern Language Association of America, 1988 for Italian Film in the Light of Neorealism o Research Assignment, University of Texas Research Institute, The University of Texas at Austin, 9/81-8/82; 9/88-12/88, 1/ 97-5/97 o American Council of Learned Societies Fellowship, 7/81-6/82 o Rockefeller Foundation Travel Grant, AFI Summer Institute, Los Angeles, 7/78 o Yale University Fellowship, Yale University, 9/69-6/73 o Fulbright Fellowship, Italy, 9/68-8/69 o Lane Cooper Scholarship, Cornell University, 9/67-6/68 o Phi Beta Kappa, Cornell University, 6/67 PUBLICATIONS: BOOKS: Italian Film in the Shadow of Auschwitz, Toronto: University Of Toronto Press, 2007, 187 pp. After Fellini: National Cinema in the Postmodern Age, Baltimore: Johns Hopkins University Press, 2002, 377 pp. Filmmaking by the Book: Italian Cinema and Literary Adaptation, Baltimore: Johns Hopkins University Press, l993, 313pp. Italian Film in the Light of Neorealism, Princeton University Press, 1986, 443 pp. An Allegory of Form: Literary Self-Consciousness in the 'Decameron', Stanford French and Italian Studies 18 (Saratoga, Cal., 1979), 136 pp. EDITED VOLUME: New Reflections on Primo Levi Before and After Auschwitz, co-edited with Risa Sodi, New York: Palgrave-Macmillan, 2011. ESSAYS: “Adventures in Interdisciplinarity: Teaching The Periodic Table, MLA Approaches to Teaching World Literature series (New York: MLA, 2014), 105-116. “The Child as ‘custode della memoria futura’: The Man Who Will Come and the Masssacre of Marzabotto,” Quaderni d’italianistica, 34 (2013): 133-148. “Boccaccio and the Seventh Art: The Decameronian Films of Fellini, De Laurentiis, Pasolini, Woody Allen,” Mediaevalia 34 (2013): 267-279. 3 “Fellini and the Art of the Hyperfilm,” Global Perspectives on Italian Literature, Cinema, and Culture, ed. Tonia Caterina Riviello (Salerno: Edisud, 2012), pp. 123- 138. “Return of the Referent: Italian Cinema for the New Millenium,” Semiotica 183, No. 1 (2011), 273-282. “Da L’oro di Roma a Hotel Meina: La Shoah secondo Lizzani,” in Carlo Lizzani: Un lungo viaggio nel cinema, ed. Vito Zagarrio (Venice, Marsilio 2010), pp. 157-166. “Il cinema come specchio della memoria,” in Storia della Shoah in Italia (Turin: UTET, 2010), pp. 419-433. “The Ironist and the Auteur: Post-Realism in Paolo Sorrentino’s Il Divo”, The Italianist 30.2 (2010) pp. 245-257, and 269-271. “Romanzo criminale: The Novel and the Film through the Prism of Pasolini,” in Watching Pages, Reading Picture: Cinema and Modern Literature in Italy, ed. Daniela De Pau and Georgina Torello (Newcastle on Tyne: Cambridge Scholars Publishing, 2008), pp. 393-405. “La scrittura sullo schermo: il martirio anti-mafia come epitaffio nel cinema contemporaneo,” Sinergie narrative,” ed. Guido Bonsaver, Martin McLaughlin, Franca Pellegrini (Florence: Franco Cesati, 2008), pp. 73-81. “Pina’s Pregnancy, Traumatic Realism, and the After-Life of Open City” Italica 22 (Winter 2008), 426-438. “In Memoriam: The Neorealist Legacy in the Contemporary Sicilian Anti-mafia Film,” in Italian Neorealism and Global Cinema, ed. Laura E. Ruberto & Kristi M. Wilson (Detroit: Wayne State University Press, 2007), pp. 290-306. “Weak Memory: Italian Holocaust Cinema from the End of WWII to the End of the Cold War,” (Williamsburg: Department of Religion, College of William and Mary, 2007), 74- 84. “The Ecstasy of Authorship in Generale della Rovere,” Esperienze letterarie 31 No. 4 (2006), pp. 83-95. “Un’ora e mezzo particolare: Teaching Fascism with Ettore Scola,” Italica 83 (2006), 38- 46. “Insegnare con il cinema dei Taviani,” Utopisti, Esagerati: Il cinema di Paolo e Vittorio Taviani, ed. Vito Zagarrio (Venice: Marsiglio, 2004), pp. 286-293. 4 Film d’amore e d’anarchia: Love and Anarchy, in The Cinema of Italy, ed. Giorgio Bertellini (London and New York: Wallflower Press, 2004), pp. 183-191. “Celluloid and the Palimpsest of Cinematic Memory: Carlo Lizzani’s Film of the Story Behind Open City,” in Roberto Rossellini’s ‘Open City,’ ed. Sidney Gottlieb (Cambridge, U.K.: Cambridge University Press, 2004), pp. 67-84. “The Saraghina Syndrome, or Fellini and the Phenomenology of Dance,” Italica 81 (Summer 2004), 221-230. “The Tale of Maestro Alberto (10.1),” The Decameron: First Day in Perspective, ed. Elissa Weaver, (Toronto: University of Toronto Press, 2004), pp. 222-240. “Ghost Stories: The Haunted History of the Italian Holocaust and the Case of Rosetta Loy,” The Representation of the Holocaust in Literature and Film, ed. Marc Lee Raphael (Williamsburg: The College of William and Mary, 2003), pp. 63-73. “Ettore Scola’s Concorrenza sleale: The Alter-Biography of the Other-in-Our Midst,” Incontri con il cinema italiano, ed. Antonio Vitti (Caltanissetta: Salvatore Sciascia, 2003), pp. 79-94. “Ma quale Manzone [sic] se io te porto verdone: An Italian Rock Video as Cultural Studies Text,” Romance Languages Annual XII (2000), 196-202. “Primo Levi: The Biographer’s Challenge and the Reader’s Double Bind,” Italica 80 (Spring 2003), 64-69. “Una Pasqua sanguigna. Da Verga a De Santis tramite Visconti,” Non c’è pace tra gli ulivi: Un neorealismo postmoderno, ed. Vito Zagarrio (Roma: Fondazione Scuola Nazionale di Cinema, 2002), pp. 107-113. “From Fallo to Philly and Back: An Amateur Historian Reconstructs a Remarkable Immigrant Life,” Via (Voices in Italian Americana) 13 (Fall 2002), 13-24. "Me lo dici babbo che gioco è?": The Serious Humor of La vita è bella, Italica 77 (2000), 153-170. "Rossellini's Paisà: National Identity by Means of Montage," Italian Quarterly (Winter- Fall, 2000), pp. 295-302. "Umbilical Scenes: Where Filmmakers Foreground their Relationships to Literary Sources," Romance Languages Annual X (l998), pp. xix-xxiv (double-columns). "The Italian Body Politic Is a Woman: Feminized National Identity in Postwar Italian Film," Sparks and Seeds: Medieval Literature and its Afterlife: Essays in Honor of John Freccero, (Brepols, 2000), pp. 285-302 5 "Palimpsest Vs. Pastiche: Revisiting Neorealism in the l990's," Annali d'Italianistica 17 (l999), 56-68. "Visconti's Bellissima: The Diva, the Mirror, and the Screen, Italian Culture 17 (l999), pp. 9-17. "Liberating the Garden: Eden and the Fall from Paisà to Mediterraneo," in Italy and America l943-44 (Naples: La Città del Sole, 1997), pp. 549-570. “I misteriosi fegatelli di Ginger e Fred," Mystfest l997 (Milan: Mondadori, 1997), pp. 275-285. "The Neo-neorealist Screenplay I Always Wanted to Write," Romance Languages Annual 8 (l997): 222-224 (double columns). "Beyond cinema politico: Family as Political Allegory in Tre fratelli" in Poet of Civic Courage: The Films of Francesco Rosi, ed. Carlo Testa (Wiltshire, Eng: Flick Books, l997), pp. 116-137. "Caro diario and the Cinematic Body of Nanni Moretti" Italica. 73 (Summer l996), 233- 247. "Anton Giulio Bragaglia's Thaïs or The Death of the Diva + The Rise of the Scenoplastica = The Birth of Futurist Cinema," South Central Review 13 Special Issue on Futurism and the Avant-Garde, (Summer/Fall l996), 63-81. "Cane da grembo o carne in scatola? Il Divismo in Anna e La strega bruciata viva in Studi Viscontiani, eds. David Bruni and Veronica Pravadelli (Venice: Marsilio Editori, l997), pp. 107-120. "Who Owns Film Studies?" Romance Languages Annual 5 (l993), 239-245 (double columns). "Miss Mondina, Miss Sirena, Miss Farina: The Feminized Body Politic from Bitter Rice to La voce della luna,” Romance Languages Annual 4 (1992), 296-300 (double columns). "Angelica's Loveknots: The Poetics of Requited Desire in Orlando Furioso 19 and 23," Philological Quarterly 72 (Winter l993), 33-48. "Screening the Decameron," Studi sul Boccaccio 20 (l991-92), 345-353. "Kaos: Pirandello Liberato." Il Cinema e Pirandello, Atti del Convegno di Pavia 8-l0 novembre l990, 33-41. "Cross-Fertilizations: Folklore and Literature in Decameron 4.5", Italica 66 (Winter 1988), pp. 383-398. 6 "Bertolucci's Last Emperor and the Case for National Cinema," in Romance Languages Annual, I (1989), 45-52 (double columns). "Lectura Boccaccii: Decameron I, 10, The Decameron First Day in Perspective, ed. Elissa Weaver (Toronto: University of Toronto Press), pp 222-240. "Misogyny as Misreading: A Gloss on Decameron VIII, 7" Stanford Italian Review, IV, 1 (Spring 1984), pp.