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Graduate Course Proposal Form Submission Detail - HUM6276
Tracking Number - 1732

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Current Status: Approved, Permanent Archive - 2007-05-14
Submission Type:
Course Change Information (for course changes only):

Detail Information

  1. Date & Time Submitted: 2006-10-24
  2. Department: HUM
  3. College: AS
  4. Budget Account Number: 123700
  5. Contact Person: Silvio Gaggi
  6. Phone: 49373
  7. Email:
  8. Prefix: HUM
  9. Number: 6276
  10. Full Title: Cinematic Art
  11. Credit Hours: 3
  12. Section Type: C - Class Lecture (Primarily)
  13. Is the course title variable?: Y
  14. Is a permit required for registration?: N
  15. Are the credit hours variable?: N
  16. Is this course repeatable?:
  17. If repeatable, how many times?: 0
  18. Abbreviated Title (30 characters maximum): Cinematic Art
  19. Course Online?: -
  20. Percentage Online:
  21. Grading Option: R - Regular
  22. Prerequisites: Graduate Standing
  23. Corequisites:
  24. Course Description: Films studied will be organized around a director, a nation, a movement, or a period. Cinema will be treated as a collaborative medium best approached from an interdisciplinary perspective, integrating visual, narrative, dramatic, and musical analysis.

  25. Please briefly explain why it is necessary and/or desirable to add this course: Courses treating film have been frequently offered by the department of Humanities and American Studies under "Special Topics" rubrics. Such courses have always emphasized the artistic aspect of cinematic art; they have also, to some degree (depending on
  26. What is the need or demand for this course? (Indicate if this course is part of a required sequence in the major.) What other programs would this course service? Graduate enrollment in these courses has been modest, and therefore we have tended to piggy-back them on larger undergraduate sectionsm, making certain that there is a clear discrimination in requirements between those taking a course for graduate and those taking it for undergraduate credit. However, a few developments are likely to change this situation, enabling us to offer such courses as stand-alone graduate courses, which would be a much preferable situation. A Film Studies Certificate is being proposed through the English Department, and we would like this course proposal to move through the approval process in tandem with the certificate proposal. Moreover, a Ph.D. in Comparative Literature and Film Studies has also been completed and will similarly make its way through the approval process, though probably at a slower pace than the certificate and course proposal.
  27. Has this course been offered as Selected Topics/Experimental Topics course? If yes, how many times? spring 2006: Florida on Film

    summer 2005: Fellini and Wertmuller: Politics, Gender, Fantasy

    summer 2005: Film in American Culture: the South

    spring 2005: Florida on Film

    summer 2004: Fellini and WertMuller: Politics, Gender, Fantasy

    summer 20

  28. What qualifications for training and/or experience are necessary to teach this course? (List minimum qualifications for the instructor.) A Ph.D. in a Humanities Discipline (e.g., Literature, History, or American Studies) with demonstrable scholarly credentials in film history or criticism.
  29. Objectives: Because the specific focus of the course would vary, these course objectives, outcomes, and topics are just an example of one possibility: a course focusing on films with music composed by Nino Rota:

    1. To study various films directed by Italian (and one Italo-American) director, each with music composed by Nino Rota, paying particular attention to the way music is used in the context of image and narrative, to reinforce aspects of each film’s characters or themes. Most films we watch will be directed by Federico Fellini, but we will also watch one film each of Lina Wertmüller, Franco Zeffirelli, and Francis Ford Coppola.

    2. We will pay particular attention to themes related to politics, gender, and fantasy, as they are presented in these films. We will also consider Neorealism briefly, using Vittorio de Sica’s Bicycle Thief as an example, and regarding Neorealism as a starting point, from which Italian post-war film develops or against which it reacts.

    3. Film music written by Nino Rota will be studied, insofar as it contributes to ideas and feelings associated with the films for which they were written, but also as well constructed compositions in themselves, capable of standing alone outside the movie. (This is one of Rota’s remarkable characteristics as a film composer.) A technical knowledge of music is not required, though it will be necessary for students to be able to identify a theme, count a meter, notice tempo and dynamics, and characterize, in everyday language, a theme in terms of its mood or conventionalized associations (e.g., with “romance” or circus performances or melancholy or excitement).

  30. Learning Outcomes: 1. Upon completion of this course students will have a knowledge of films by four major directors, each with music composed by Nino Rota.

    2. Upon completion of this course, students will be aware of important themes related to politics, gender, and fantasy as they emerge in the films studied.

    3. Upon completion of this course, students will have a knowledge of a selection of film music written by Rota, for various directors, and an awareness of how his music contributes to the ideas and emotions associated with the various films studied.

  31. Major Topics: 1. Italian Neorealism (treated as a starting point from which the directors studied emerge and diverge in various ways)

    2. The role of Rota's music in selected films of Fellini, Wertmuller, Zeffirelli, and Coppola. How music contributes to each film, contributing to characterization, theme, and emotional impact.

    3. The films of Fellini, emphasizing issues of masculinity and fantasy, as well as (usually more implicitly) politics.

    4. Wertmuller's Love and Anarchy as a powerful analysis and indictment of Italian Fascism, as well as a serious representation of two opposite "masculinities."

    5. Gender roles in Zeffirelli's Romeo and Juliet.

    6. Masculine identity and politics in Coppola's Godfather.

  32. Textbooks: Peter Bondanella, The Cinema of Federico Fellini

    Jacqueline Reich, Beyond the Latin Lover, Marcello Mastroianni, Masculinity, and the Italian Cinema

    Ernest Ferlita and John R. May, The Parables of Lina Wertmüller.

    Nino Rota, The Symphonic Fellini/Rota, New Symphonic Suites from the Classic Films of Federico Fellini, performed by The Czech Symphony Orchestra (CD)

    Eight articles on Lina Wertmüller, Franco Zeffirelli, and Francis Ford Coppola will be placed on Electronic Reserve.

    Film clips, music clips, and additional notes related to the films in particular and significa

  33. Course Readings, Online Resources, and Other Purchases:
  34. Student Expectations/Requirements and Grading Policy:
  35. Assignments, Exams and Tests:
  36. Attendance Policy:
  37. Policy on Make-up Work:
  38. Program This Course Supports:
  39. Course Concurrence Information:

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