KLMgrB68 A certain idea of antiquity. Cinema and the representation of Greece and Rome

Faculty of Arts
Spring 2011
Extent and Intensity
1/1/0. 3 credit(s). Type of Completion: k (colloquium).
Teacher(s)
Dr. Elisabetta Maria Gagetti, Ph.D. (lecturer), PhDr. Marie Pardyová, CSc. (deputy)
Guaranteed by
doc. PhDr. Eliška Kazdová, CSc.
Department of Archaeology and Museology – Faculty of Arts
Contact Person: PhDr. Marie Pardyová, CSc.
Timetable
Mon 2. 5. 17:30–19:05 KOM 410, Tue 3. 5. 17:30–19:05 KOM 410, Wed 4. 5. 17:30–19:05 KOM 410, Thu 5. 5. 17:30–19:05 KOM 410, Fri 6. 5. 17:30–19:05 KOM 410, Mon 9. 5. 17:30–19:05 KOM 410, Tue 10. 5. 17:30–19:05 KOM 410, Wed 11. 5. 17:30–19:05 KOM 410, Thu 12. 5. 17:30–19:05 KOM 410, Fri 13. 5. 17:30–19:05 KOM 410
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 30 student(s).
Current registration and enrolment status: enrolled: 0/30, only registered: 0/30, only registered with preference (fields directly associated with the programme): 0/30
fields of study / plans the course is directly associated with
there are 8 fields of study the course is directly associated with, display
Course objectives
At the end of this course the students should be able to be acquainted with: • the idea that, in movies about antiquity, the main aim for the archaeologist is not to detect “what is correct; what is wrong” • the idea that the image of antiquity depends strictly on the years in which the movie was made • the main aim is the research of the sources (ancient and scientific-archaeological; but also outside this field) of the image of antiquity • the concept of the permanence, through transformation, of antiquity in present days
Syllabus
  • 1. Screening: La caduta di Troia (Giovanni Pastrone, Romano Luigi Borgnetto, 1911) and L’Odissea (Francesco Bertolini, Adolfo Padovan, 1911); selected scenes from Troy (Wolfgang Petersen, 2004). Lesson: “Homer and the Tenth Muse. The Walls of Troy”. 2. Screening: Gli ultimi giorni di Pompei (Eleuterio Rodolfi, 1913). Lesson: “The Roman antiquity of Lawrence Alma-Tadema and cinema: a common background?” 3-4. Screening: selected scenes from Marcantonio e Cleopatra (Enrico Guazzoni, 1913); Cleopatra (Cecil B. DeMille, 1934); Due notti con Cleopatra (Mario Mattoli, 1953); Cleopatra (Joseph L. Mankiewicz, 1963); Il figlio di Cleopatra (Ferdinando Baldi, 1964); Imperium: Augusto (Roger Young, 2003: TV). Lesson: “Cleopatra, a diva of our time”. 5-6. Screening: A Director’s Notebook (Federico Fellini, 1968); Fellini-Satyricon (Federico Fellini, 1969). Lesson: “Fellini-Satyricon: the imagery of antiquity”. 7. Screening: selected scenes from Alexander the Great (Robert Rossen, 1956) and Alexander (Oliver Stone, 2004). Lesson: “The updating of the heroic imagine myth”. 8-9. Screening: 300 (Zack Snyder, 2006). Lesson: “From the paper to the screen. The image of antiquity in 300”. 10. Screening: selected scenes from Sebastiane (Derek Jarman, 1976); De reditu (Claudio Bondi, 2004); Agora (Alejandro Amenábar, 2009). Lesson: “A glance on Late Antiquity”.
Literature
    recommended literature
  • • M. Wyke, Projecting the Past. Ancient Rome, Cinema and History, London 1997.
  • • M. Junkelmann, Hollywoods Traum von Rom. "Gladiator" und die Tradition des Monumentalfilms, Mainz 2004.
    not specified
  • • Fellini-Satyricon e l’immaginario dell’antico, eds. R. de Berti, E. Gagetti F. Slavazzi, Milano 2009.
  • WU, Ming. 300 (allegoria e guerra). Genova, 2010. info
  • GAGETTI, Elisabetta Maria. La percezione dell’antico. I Romani di Fellini-Satyricon tra Musei Capitolini e “Harper’s Bazaar”. In R. de Berti, E. Gagetti, F. Slavazzi. Fellini-Satyricon e l’immaginario dell’antico, Proceedings of the 1st Study Day “Scene di Roma antica. L’antichità interpretata dalle arti contemporanee” (Milano, Università degli Studi di Milano, 6 marzo 2007) (Quaderni di “Acme”, 114). Milano: Cisalpino. Istituto Editoriale Universitario, 2009, p. 165-252. info
  • GAGETTI, Elisabetta Maria. Omero e la decima Musa: le mura di Troia. In Iconografia 2006. Gli eroi di Omero, Proceedings of the conference (Taormina, 2006). Roma: Quasar, 2007, p. 269-279. info
  • CYRINO, Monica Silveira. Big Screen Rome. Malden: Wiley-Blackwell, 2005, 274 pp. ISBN 978-1-4051-1684-8. info
  • WENZEL, Diana. Kleopatra im Film : eine Königin Ägyptens als Sinnbild für orientalische Kultur. Remscheid: Gardez, 2005, 430 pp. Filmstudien 33. ISBN 3-89796-121-0. info
  • ALOVISIO, Silvio. Kolossal in the making: the invention of space in “La caduta di Troia”. Cinegrafie. 2005, vol. 18, p. 333-355. info
  • LINDNER, R. Mythos Alexandros. In M. Lindner. Drehbuch Geschichte: Die antike Welt im Film. Muenster, 2005, p. 50-66. info
  • JUNKELMANN, Marcus. Hollywoods Traum von Rom. "Gladiator" und die Tradition des Monumentalfilms. Mainz: Philipp von Zabern, 2003, 462 pp. ISBN 3-8053-2905-9. info
  • MILLER, Frank and Lynn VARLEY. 300. Oregon: Dark Horse Comics, 1999, 88 pp. ISBN 978-1-56971-402-7. info
  • WYKE, Maria. Projecting the Past. New York: Routledge, 1997. ISBN 0-415-90614-8. info
  • BERNADINI, Aldo. Cinema muto italiano. III. Arte, divismo e mercato 1910-1914. Roma/Bari: Laterza, 1982, 298 pp. ISBN 88-397-0915-0. info
Teaching methods
Lessons with PowerPoint presentations (in English)
Assessment methods
5. Assessment Written examination: multiple choice test (in English; in particular cases only, after a previous written request to the teacher, a Czech version of the test can be supplied) • Ten questions about an image – already seen during the lessons – each one with three questions (of which only one is correct), according to the subjects of the lessons Requirements for the test: • Knowledge of the contents of the lessons • The reading of some texts in literature is suggested
Language of instruction
English
Further comments (probably available only in Czech)
Study Materials
Information on completion of the course: test v angličtině - volba odpovědí
The course is taught once in two years.
Information on the extent and intensity of the course: 0.
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