Minutes for 02-04-02

-         Dr. Reimer began class with giving us an oral outline of what the class would do for the day:

-         Discussion of Life is Beautiful

-         Overview of Italian Film- example of Italian directors

-         Dr. Reimer also reminded the class to read the reserved material from Cook in the library as it might help with the questions on the midterm. 

      -     Dr. Reimer then broke the class into small groups to discuss the questions of Life                       Is Beautiful.  

-         The small groups shared answers for about 10-15 minutes and then the class came    back together to discuss what the groups had said. 

1. The first question discussed was to identify as many humorous historical references Benigni may have used in the film.  The first group pointed out the reference to the children in the store whose names were Benito and Adolf (Mussilini and Hitler).  The second group noted that the Illiad was referenced in the film and also the saluting toward Guido (reference to the Nazi salute) in the beginning.  The third group that spoke said that stealing the sash from the ambassador was a historical reference for it led to a comical bit on racist theories. 
2. The second question to answer was to identify ways in which Benigni uses whimsy, slapstick, situations, irony and language to make us laugh.  The first group stated that the puppy on the tray was whimsy, the eggs on the manager’s head was an example of slapstick, and the praying to Mary was situational.  The second group believed that the different situations blended together in the different types of humor.   Dr. Reimer stated that Bengni sets up comedy very well.  We know we are being set up but don’t know how the setup will play out.   The third group thought that the pillow on the steering wheel, the flower pot and the eggs were all slapstick humor.  They also mentioned that Visigoths and spider web were situational.  The humor here had to do with a reference to Nazis and Germans.  The translation of the rules was noted as language humor.
3. The third question was to contrast the two halves of the film.  The first half was seen as open and airy, while the second half was cramped and dark, by the first group.  The second group believed the first half to be a struggle of love and light, while the second was sterile and struggling for life.   The third group said that the first half was about Guido and the princess, while the second half revolved around Guido and his son.  Dr. Reimer stated that the first half of the film is surrounded by the colors of the Italian flag while the second half has no dominant color beyond drap browns and greys except for occasional touches of red. 

The class went on to discuss the colors in the film. 

-Dr. Reimer stated that we don’t get the sense that we are out of Italy when they enter the concentration camp.

-Elizabeth commented that the architecture in the film still looks Italian.

The class finished the discussion and Dr. Reimer began to lecture on Italian Cinema.

Films that were discussed in this section were:

-         Roberto Rossellini’s

-         Open City (1946)-neorealism WWII

-         Federico Fellini’s  :

-         La Strada (1954) –realism backed up with absurdity

-         8 ½  (1963)

-         And the Ship Sails On (1983)

-         Michaelangelo Antonini’s:

-         L’eclisse (1962)-doomed relationship

-         Blow up (1966)-art film (over to English language)

-         Lena Wetmueller’s:

-         Love and Anarchy (1973)-absurdity but examines historical realities leading to situations.

-         Seven Beauties (1976)

Italian film can be divided into two styles:

Realism-neorealism or

Absurdity-formalism- makes the director visible

Content

-WWII – fascists vs. communist

Mussolini rises to power

Post war Italy came back on its feet

Focus on “Haves”

We viewed a film clip of La Strada  (1954)

-music tells the story and we were told to remember that for future discussion.

-         Scenes go from neorealism to formalistic

-         Relationship in film is doomed

-         Styles change- camera goes from passive to active

We then viewed a clip from And the Ship Sails On (1983)

-         film moves from silent to music to dialogue

After watching this clip class was dismissed.