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First Semester 
Teaching style
Lingua Insegnamento

Informazioni aggiuntive

Course Curriculum CFU Length(h)


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.


Basic knowledge of 20th century historical and artistic events.


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.


Bibliography 1) Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Torino, Einaudi, 2003. 2) A text pf your choice between: David Bruni, Commedia degli anni Trenta, Milano, Il castoro, 2013; Mariapia Comand, Commedia all’italiana, Milano, Il castoro, 2010; Emiliano Morreale, Cinema d’autore degli anni Sessanta, Milano, Il castoro 2011 (new edition: Emiliano Morreale, I film della dolce vita Cinema d’autore degli anni Sessanta, Roma, Dino Audino, 2021). 3) A text of your choice between: David Bruni, Ladri di biciclette, Roma, Carocci, 2022; Carlo Lizzani, Riso amaro dalla scrittura alla regia, Roma, Bulzoni, 2009; Stefania Parigi (a cura di), Paisà Analisi del film, Venezia, Marsilio, 2005.
Filmography 1) Gli uomini, che mascalzoni… (1932, Mario Camerini); 2) Contessa di Parma (1937, Alessandro Blasetti); 3) Paisà (1946, Roberto Rossellini); 4) La terra trema (1948, Luchino Visconti); 5) Ladri di biciclette (1948, Vittorio De Sica); 6) Riso amaro (1949, Giuseppe De Santis); 7) I soliti ignoti (1958, Mario Monicelli); 8) La dolce vita (1960, Federico Fellini); 9) L’avventura (1960, Michelangelo Antonioni); 10) Accattone (1961, Pier Paolo Pasolini); 11) Divorzio all’italiana (1961, Pietro Germi); 12) Il sorpasso (1962, Dino Risi); 13) I pugni in tasca (1965, Marco Bellocchio); 14) Dillinger è morto (1969, Marco Ferreri); 15) C’eravamo tanto amati (1974, Ettore Scola).

More Information

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