rabissi

rabissi@arizona.edu
Phone
(520) 621-7349
Office
574 Modern Languages
Office Hours
By appointment
In person & Online
Rabissi, Francesco
Associate Professor

Ph.D., Yale University; Laurea in Contemporary History, Università degli Studi di Milano. Dr. Rabissi’s research focuses on the relationship between Aesthetics and Politics with main interest in the case of Italian Cinema. His current research project analyzes the connection between the oneiric and the representation of history in the Contemporary Italian Film production. His research and teaching interests include Italian Cinema and Literature; Contemporary Italian history, politics and society; World Cinema. He published articles on the cinema of Marco Bellocchio, George Lucas, Jim Jarmusch and Otar Iosseliani. In his spare time he listens to the Rock/Pop Music released in the 90’s.
 
PUBLICATIONS
 

“La ‘fabbrica dei sogni’ ne Il caimano di Nanni Moretti,” Italian Quarterly, n. 195-98,

Fall 2017

Book Chapters
“The Visionary Realism of Marco Bellocchio’s Buongiorno, notte,” in Dreamscapes Projected: The Oneiric in Italian Film Culture, ed. Francesco Pascuzzi (Madison: FDU Press, 2014).
 
 “Il ruolo di Bianco e Nero,” in Estetica e cinema a Milano, ed. Simona Chiodo (Milano: CUEM 2005).
 
“L’utopia negativa di Lucas: L’uomo che fuggì dal futuro,” in La New Hollywood tra autori e generi. Analisi di film, ed. Raffaele de Berti (Milano: CUEM 2005).
 
Articles
“La sineddoche illegittima: la Rivoluzione Francese secondo Manzoni,” La Fusta, vol. XVII (fall 2009): 1-16.
 
“Il sogno della ragione,” Millimetri, no. 5 (dicembre 2003).
 
“Il Lunedì mattina di Otar Iosseliani,” Millimetri, no. 3 (giugno 2002).
 
“Dead Man: musica per gli occhi,” Millimetri, no. 2 (dicembre 2001).
 
Shorter Publications
Entries for Il Morandini. Dizionario dei film, ed. Morando Morandini (Bologna: Zanichelli 2005).
 
Entries for Enciclopedia del Cinema, ed. Gianni Canova (Garzanti: Milano 2002).
 
Entries for Annuario del cinema 2001-2002 (Bergamo: Edizioni di Cineforum 2002).
 
“Ridefinire la politica,” Millimetri, n. 6/7 (settembre 2004).
 
“Lezione di cinema di Jane Campion,” Millimetri, n. 6/7, settembre 2004.
 
“Italia 2003: storie e memorie,” Millimetri, no. 5 (dicembre 2003).
 
“Il mestiere del critico è unico,” Millimetri, no. 4 (dicembre 2002).
 
“Il cinema o dell’immaginario,” Millimetri, no. 6/7 (settembre 2004).

Currently Teaching

ITAL 320 – Italian Encounters: Written Italian in Context

Course emphasizes advanced written language as found in Italian culture through a variety of genres, which can include fiction, nonfiction, poetry, opera, cinema, music and history.

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ITAL 330C – The Good, the Bad, and the Ugly in Italian Cinema

This course will provide an historical introduction to Italian cinema by concentrating on examples of classic genres and movements, such as the early silent epic, Neorealism, Auteur cinema, Comedy Italian style, Spaghetti Western, and Contemporary Italian Cinema. Films by Rossellini, De Sica, Fellini, Antonioni, and Sorrentino will be watched, analyzed and discussed from both a filmic and a historical stance. We will examine issues of representation and production of societal values, i.e. gender, family relations, and national identity. This course may be applied toward the major or minor in Italian (please speak with an advisor for more information). Taught in English.

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This course will provide an historical introduction to Italian cinema by concentrating on examples of classic genres and movements, such as the early silent epic, Neorealism, Auteur cinema, Comedy Italian style, Spaghetti Western, and Contemporary Italian Cinema. Films by Rossellini, De Sica, Fellini, Antonioni, and Sorrentino will be watched, analyzed and discussed from both a filmic and a historical stance. We will examine issues of representation and production of societal values, i.e. gender, family relations, and national identity. This course may be applied toward the major or minor in Italian (please speak with an advisor for more information). Taught in English.

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ITAL 330B – Once Upon a Time In Italian American Cinema

What role did cinema play in the encounter between Italian and American culture? How are aesthetic goals such as economy, coherence, and implied perception, and methods such as montage, ellipsis, and points of view being pursued in films that represent the Italian American Experience? To answer these questions, every week we will watch a film made by and/or dealing with the Italian American community. Students will engage with issues of migration, gender, family relations, cultural conflict, and ethnic identity formation by exploring works by directors such as Martin Scorsese, Francis Ford Coppola, Spike Lee, and Stanley Tucci. This course may be applied toward the major or minor in Italian (please speak with an advisor for more information). Taught in English.

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What role did cinema play in the encounter between Italian and American culture? How are aesthetic goals such as economy, coherence, and implied perception, and methods such as montage, ellipsis, and points of view being pursued in films that represent the Italian American Experience? To answer these questions, every week we will watch a film made by and/or dealing with the Italian American community. Students will engage with issues of migration, gender, family relations, cultural conflict, and ethnic identity formation by exploring works by directors such as Martin Scorsese, Francis Ford Coppola, Spike Lee, and Stanley Tucci. This course may be applied toward the major or minor in Italian (please speak with an advisor for more information). Taught in English.

View Section Details

What role did cinema play in the encounter between Italian and American culture? How are aesthetic goals such as economy, coherence, and implied perception, and methods such as montage, ellipsis, and points of view being pursued in films that represent the Italian American Experience? To answer these questions, every week we will watch a film made by and/or dealing with the Italian American community. Students will engage with issues of migration, gender, family relations, cultural conflict, and ethnic identity formation by exploring works by directors such as Martin Scorsese, Francis Ford Coppola, Spike Lee, and Stanley Tucci. This course may be applied toward the major or minor in Italian (please speak with an advisor for more information). Taught in English.

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ITAL 420 – Framing Italy

Course is an advanced seminar on historical, geographical, social, and artistic aspects of Italy.

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To view full listing of courses offered, please visit our Course Schedule.

Course Schedule