Director of Italian School, Italian School Faculty
Antonio Vitti received his Ph.D. in Italian Studies from the University of Michigan (Ann Arbor). He is currently a Dana Fellow and Professor at Wake Forest University. His research has been primarily in the areas of Film Studies and Modern and Contemporary Italian Literature and Culture. His publications include articles on Pasolini, Scola, Wertmüller, De Santis, Rossellini, Amelio, Tornatore, Roversi, Montaldo, Rimanelli, Nanni Loy, and Nanni Moretti. He is the author of Giuseppe De Santis and Postwar Italian Cinema (1996), editor of Canadian Journal of Italian Studies. Special issue on Italian Cinema (1997), and co-editor of Amerigo (1999), an anthology of Italian American/Canadian writers. He is working on a book on Gianni Amelio.
Courses offered in the past four years.
▲ indicates offered in the current term
▹ indicates offered in the upcoming term[s]
ITAL 6628 - The Mafia:Cinematic Perspectvs
The Mafia through Cinematic and Literary Perspectives
The course will analyze the cinematic representation of the complex phenomena called Mafia. We will study how within Italian cinema the characterization of the Mafia and mafiosi began with the archetypal figures of the bosses and the good guy, crusader from the North sent to Sicily to fight crime. Special attention will be dedicated to Francis Ford Coppola’s Godfather trilogy, Placido Rizzotto, Salvatore Giuliano, Il giorno della civetta, Falcone, Borsellino, Fortapasc and Il Divo.
La mafia spiegata ai ragazzi. Nicaso, Antonio - Mondadori, 2010
Il Giorno della civetta. Sciascia Leonardo, Baglione A. - La nuova italia editrice, 1993
Silvana Gandolfi, Io dentro gli spari, Salani Editore, 2010
Giancarlo De Cataldo, Nelle mani giuste, Einaudi, 2007
ITAL 6659 - The Cinema of Francesco Rosi
THIS IS A 3-WEEK COURSE DURING SESSION I
The aim of this course is to study Francesco Rosi's cinematography, which includes an impressive number of individually celebrated films, which occupy a unique place in postwar Italian and world cinema. His seventeen feature films are known for their extraordinarily consistent formal balance and their unflinching look at the historical events and cultural traditions that have shaped the Italian national character. They thus represent a body of work of inordinate importance for both the cultural history of Italy since the fall of Fascism and for a realist theory of cinematic representation.
Required texts:Antono Giulio Mancin e Sandro Zambetti, Francesco Rosi, Milano: Il Castoro, 1998.
Io lo chiamo cinematografo conversazioni con Giuseppe Tornatore, di Francesco Rosi, Milano: Mondadori, 2103.
ITAL 6714 - Cinematic World of Neorealism
The Cinematic World of Neorealism
This course provides an understanding of the history, philosophy, politics, artistic movements and civic renaissance of postwar Italian life. By discussing the most important films, essays, and controversies of the time, as well as the various styles of the major directors of this wonderful movement: Rossellini, Visconti, De Santis and De Sica, students will discover and learn about the fascinating cinematic changes that revolutionized the world of cinema.
André Bazin. Che cos'è il cinema? Garzanti, 1986.
Lino Micciché. Il neorealismo cinematografico italiano. Venezia: Marsilio, 1975.
Antonio Vitti. Peppe De Santis secondo se stesso. Conferenze, conversazioni e sogni nel cassetto di uno scomodo regista di campagna. Metauro, 2006.
Rossellini Roberto. Il mio metodo. Scritti e interviste. Venezia: Marsilio, 2006.
ITAL 6800 - Independent Study
Summer 2010, Summer 2012, Summer 2013
ITAL 6902 - Research Paper