Monica Facchini received her PhD in Italian Studies from Brown University in 2012.
Her main research field is Italian cinema and her approach is interdisciplinary, engaging with film studies, cultural anthropology, and subaltern studies.
Her teaching interests are diverse and include Italian language, literature and culture, and film and media studies. Her teaching approach is communicative and interdisciplinary, and she values the employment of technology in the classroom to contribute a multidimensional way to the teaching and learning process.
She is currently working on a book manuscript on the Italian political cinema of the 1960s, in which she furthers her discussion on the relationship between Christian iconography, popular cultures, and the representation of subaltern groups in Marxist filmography.
PhD, Brown University, 2012
Laurea (summa cum laude), Università degli Studi di Lecce, Italy, 2003.
Italian Language, Cinema, and Literature; Film Studies; Visual Studies; Cultural Anthropology; Postcolonial and Subaltern Studies.
“Sound and Soundtrack in Italian Cinema.” Book chapter. Joseph Luzzi (ed.), The Total Art: Italian Cinema from Silent Screen to Digital Image. New York: Bloomsbury Academic, expected 2015 (peer-reviewed).
“Dalla Sacralità Tecnica al Magma Stilistico: Il Cristo Contraddittorio de Il Vangelo Secondo Matteo.” Book Chapter. Fulvio Orsitto (ed), Pier Paolo Pasolini: Prospettive Americane. Pesaro: Metauro, expected 2015. (peer-reviewed)
“Iconografia Cristiana e Cinema Politico degli Anni Sessanta. Il Caso Mantegna da Francesco Rosi a Pier Paolo Pasolini.” Book Chapter. Fulvio Orsitto, Simona Wright (eds), Contaminazioni culturali: musica, teatro, cinema e letteratura nell'Italia contemporanea. Manziana (Roma): Vecchiarelli, 2014. 213-232. (peer-reviewed)
“Life Is… Comic! Creative Writing, Oral Presentation and Technology in Second Language Acquisition.” 6th International Conference of Education, Research and Innovation 2013, November 2013.
“The Revolutionary Failure of Pasolini's La ricotta." Pier Paolo Pasolini between Regression and Failure Conference, University of Paris-Sorbonne, France, May 9-10, 2014.
"Mourning Accattone. Redemption and Technical Sacredness in Pasolini’s First Film." Invited Lecture at Syracuse University, March 26, 2014.
“Life Is… Comic! Creative Writing, Oral Presentation and Technology in Second Language Acquisition.” 6th International Conference of Education, Research and Innovation (ICERI), Seville (Spain), November 18-20, 2013.
“Tanatopolitica, Arti Visive e Marxismo nel Cinema Italiano degli Anni ’60,” Intersections Conference, Turin (Italy), June 7-8, 2013.
“Camera-Brush and Literary Soundtrack in Pasolini’s Mamma Roma,” American Association of Italian Studies (AAIS) Conference, Eugene, OR, April12, 2013.
“Channeling Emotions in Pontecorvo’s The Battle of Algiers,” American Association of Italian Studies (AAIS) Conference, Pittsburgh, April 9, 2011.
“Sacredness and Desecration in Pasolini’s La Ricotta,” American Association of Italian Studies (AAIS) Conference, New York, March 7, 2009.
“Voices from the Border. The Role of Rituals in Italian Political Films of the 60s,” Northeast Modern Language Association (NeMLA) Convention, Boston, February 26, 2009.
Challenges of Modernity, Colgate University
Italian Modern Culture, Colgate University
Introduction to Film and Media Studies, Colgate University
Introduction to Italian Cinema, Colgate University
Advanced (Italian) Grammar and Composition, Colgate University
Intermediate Italian, Brown University; Colgate University
Elementary Italian, Brown University; Colgate University
Modernity: Italian Style, (TA) Brown University
L’Ordine della Morte: Potere e Pianto Rituale nel Cinema di Francesco Rosi, Gillo Pontecorvo e Pier Paolo Pasolini.
Monica Facchini's dissertation is an interdisciplinary study of the relationship between death and power in Italian political cinema of the 1960s. By analyzing the intertexts among paintings, music, literature and subaltern cultures at play in the movies, she investigates the role of Christian representations of death in the Marxist cinema of Rosi, Pontecorvo and Pasolini.