Italian cinema has a long history of adapting literary texts to the screen. From silent versions of Dante's Divine Comedy, to Pasolini's iconoclastic film version of Boccaccio's Decameron; from neorealist cinema's often disavowed connection to literary sources, to very recent film adaptations both of classic texts such as Pinocchio and contemporary novels by authors such as Cavazzoni and Ammaniti, Italian cinema has fostered a strong tie with literature that is at once enriching to the two artistic modes in question, and theoretically complex. In this course we shall study selected theories of film adaptation, the history of Italian cinema's use of literature, and we shall analyze specific cases of book to screen adaptations. The wide influence of Pirandello on not only Italian but other national cinemas will be considered as well. Films studied will include Pasolini's Decameron, Visconti's Ossessione and Death in Venice, Benigni's Pinocchio, Fellini's La voce della luna, Rossellini's Ladri di biciclette (Bicycle Thief), Salvatores' Io non ho paura (I Am Not Afraid), and we shall read the texts upon which these films draw. Anthony Minghella's The Talented Mr. Ripley, set in Italy and based on the novel by Patricia Highsmith, will also be studied, as will one or two films that show the strong influence of Pirandellian concepts of the interplay of reality and illusion. Students concentrating in Italian studies will be expected to read materials in Italian; non-concentrators will do their work using English-language materials.