Select Academic Year:     2016/2017 2017/2018 2018/2019 2019/2020 2020/2021 2021/2022
Professor
DAVID BRUNI (Tit.)
Period
First Semester 
Teaching style
Convenzionale 
Lingua Insegnamento
ITALIANO 



Informazioni aggiuntive

Course Curriculum CFU Length(h)
[20/45]  CULTURAL HERITAGE AND ENTERTAINMENT [45/50 - Ord. 2016]  BENI CULTURALI E SPETTACOLO CONVENZIONALE 12 60

Objectives

1. Knowledge and understanding.
At the end of the course, students will know the basic lines of film history. They will know the different types of movies and will be able to grasp the influence exerted by the historical-cultural context on film production. They will know and understand the elements behind the cinematic language and the methodological tools used to analyze the films.
2.Applying knowledge and understanding.
They will know the main features of the films analyzed and place them within the reference genre. They will be able to apply the methodological tools useful for analyzing the film. They will be able to recognize the constituent elements of a film (shots and sequences); they will distinguish cinematic phrases and recognize the dynamics of the film, in addition to the different types of shots.
3. Making judgements.
They will be able to make a judgment on a cinematic work in a historical-critical key, highlighting the peculiar characteristics and the the peculiar features of the films.
4. Communication skills.
They will be able to use the terminology used to identify the various cinematic characters and will be able to express a critical judgment in oral or written form.
5. Learning skills.
They will be able to consult sources and documents in order to keep up-to-date on the acquired skills even in anticipation of master degree and any further training paths.

Prerequisites

Basic knowledge of 20th century historical and artistic events.

Contents

The course offers an exhaustive, even if very selective, overview of film history, and explores the basic tools for analyzing the art of film.
In the second part of the course it will pay particular attention to some Italian films released in the Sixties, one of the richest periods of novelty in our cinema: L’avventura, La dolce vita, Accattone, I fidanzati, Il Gattopardo, Prima della rivoluzione, Io la conoscevo bene, I pugni in tasca, Dillinger è morto.
During the course we will analyze these films from a thematic and stylistic viewpoint. A particular attention will be devoted to the conception of space and time and analysis methodologies.

Teaching Methods

Traditional lectures, screenings and analysis of extracts of films.

Verification of learning

Oral exam.
The assessment will be done through an oral test to verify the knowledge learned and methodological tools acquired in relation to the analysis of the film.
The oral exam will consist of no fewer than three questions relating to the program and analysis of the film by a thematic and stylistic viewpoint.
The initial applications will focus on the broad outlines of film history and will continue on the film analysis methodologies. The student will be able to correctly place the film analyzed in the reference film genre.
In determining the final mark will affect the following items: the mastery of the subjects, the ability to apply the acquired knowledge, terminological precision.

Texts

Bibliography. 1) Kristin Thompson, David Bordwell, Storia del cinema. Un'introduzione (5th italian edition, edited by Elena Mosconi and David Bruni), McGraw-Hill, Milano, 2018.Particular attention should be given to the following chapters: 1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 14, 15, 16, 19, 20 and Appendice: il linguaggio del film. 2) Gianni Rondolino, Dario Tomasi, Manuale del film. Linguaggio, racconto, analisi, UTET, Torino 2018. 3) Emiliano Morreale, Cinema d’autore degli anni Sessanta, Il Castoro, Milano, 2011; 4) One text of your choice between: Antonio Costa, Federico Fellini. La dolce vita, Lindau, Torino, 2010; Antonio Costa, Marco Bellocchio. I pugni in tasca, Lindau, Torino, 2005; Stefania Parigi, Pier Paolo Pasolini. Accattone, Lindau, Torino; Federico Vitella, Michelangelo Antonioni. L’avventura, Lindau, Torino, 2010.
Filmography. 1) Films directed by Louis and Auguste Lumière, Il viaggio nella luna (1902, Méliès) and La grande rapina al treno (1903, Porter). 2) A film directed by Griffith between: La nascita di una nazione (1915), Intolerance (1916), Giglio infranto (1919). 3) An expressionist film between: Il gabinetto del Dottor Caligari (1920, Wiene), Nosferatu (1922, Murnau). 4) A film directed by Ejzenštejn between: Sciopero (1925), La corazzata Potëmkin (1925), Ottobre (1928). 5) Un Chien andalou (1929, Luis Buñuel). 6) M – Il mostro il Düsseldorf (1931, Fritz Lang). 7) A film directed by Renoir between: La grande illusione (1937), La regola del gioco (1939). 8) A Hollywood comedy between: Partita a quattro (1933, Lubitsch), Accadde una notte (1934, Capra), Susanna (1938, Hawks). 9) A classical Hollywood film between: King Kong (1933, Cooper and Schoedsack), Ombre rosse (1939, Ford), Casablanca (1943, Curtiz), Il grande sonno (1946, Hawks). 10) Quarto potere (1941, Welles). 11) A neorealist film between: Paisà (1946, Rossellini), Ladri di biciclette (1948, De Sica), La terra trema (1948, Visconti), Riso amaro (1949, De Santis). 12) A film directed by Hitchcock between: La finestra sul cortile (1954), La donna che visse due volte (1958), Psyco (1960). 13) A Nouvelle Vague film between: Hiroshima mon amour (1959, Resnais), I quattrocento colpi (1959, Truffaut), Il segno del leone (1959, Rohmer), Fino all’ultimo respiro (1960, Godard). 14) A New Hollywood film between: Easy Rider (1969, Hopper), Il lungo addio (1973, Altman), Lo squalo (1975, Spielberg), Taxi Driver (1976, Scorsese). 15) A film between: Pulp Fiction (1994, Tarantino), Il grande Lebowski (1998, Joel and Ethan Coen), Mulholland Drive (2001, Lynch) +
16) L’avventura (1960, Michelangelo Antonioni); 17) La dolce vita (1960, Federico Fellini); 18) Accattone (1961, Pier Paolo Pasolini); 19) I fidanzati (1963, Ermanno Olmi); 20) Il Gattopardo (1963, Luchino Visconti); 21) Prima della rivoluzione (1964, Bernardo Bertolucci); 22) Io la conoscevo bene (1965, Antonio Pietrangeli); 23) I pugni in tasca (1965, Marco Bellocchio); 24) Dillinger è morto (1969, Marco Ferreri).

More Information

The date and the office hours will be announced later.

Questionnaire and social

Share on: