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STORIA E CRITICA DEL CINEMA

Marco PISTOIA STORIA E CRITICA DEL CINEMA

0312700044
DEPARTMENT OF CULTURAL HERITAGE
EQF6
STUDIES IN CULTURAL HERITAGE ARTS AND DRAMA
2016/2017

YEAR OF COURSE 3
YEAR OF DIDACTIC SYSTEM 2014
SECONDO SEMESTRE
CFUHOURSACTIVITY
630LESSONS
MARCO PISTOIA T Curriculum
Objectives
THE COURSE INTENDS TO ENABLE STUDENTS TO ACQUIRE KNOWLEDGE OF THE HISTORY AND EVOLUTION OF THE CINEMATOGRAPHIC FORM FROM ITS ORIGINS TO THE PRESENT. IT WILL ALSO PAY ATTENTION TO THE THEORIES AND THE CRITICAL ANALYSES OF FILM WHICH WERE DEVELOPED DURING THE TWENTIETH CENTURY. CINEMATOGRAPHIC FORM, WHICH ALSO INCLUDES REFERENCE TO VARIOUS FILM ‘GENRES’, WILL BE COMPARED AND CONTRASTED WITH OTHER ART FORMS, WITH THE AIM OF CONVEYING A BROAD UNDERSTANDING OF CINEMA NOT ONLY AS A ‘NEW ART’, BUT ALSO AS A MEETING POINT OF A NUMBER OF ARTISTIC AND CULTURAL EXPRESSIONS. THE COURSE WILL ALSO SHOW THE EXTENT TO WHICH CINEMA OFFERS CRITICAL AND HISTORICAL REFLECTIONS ON THE MEANING OF THE REPRESENTATION-NARRATION OF THE WORLD. THE WORKSHOP AIMS AT A COMPREHENSIVE UNDERSTANDING OF FILMS, WHICH ARE CONSIDERED AS ‘TEXTS’ – IN THE SAME WAY AS NOVELS, PAINTINGS OR MUSICAL SCORES. FILMS AS TEXTS ARE ANALYSED THROUGH THE USE OF ONE OR MORE CRITICAL AND THEORETICAL METHODS. THE OBJECTIVE IS TO DEEPEN THE STUDENT’S UNDERSTANDING OF FILM THROUGH AN ANALYSIS OF ITS MULTIPLE SOURCES, INCLUDING EXTRA-CINEMATOGRAPHIC SOURCES, SCREENPLAYS AND OTHER TECHNICAL AND EXPRESSIVE COMPONENTS, THE DIRECTOR’S PROGRAMMATIC INTENTIONS AS WELL AS THE HISTORICAL CONTEXTS IN WHICH FILMS WERE PRODUCED.
Prerequisites
GOOD KNOWLEDGE OF ITALIAN AND GOOD CULTURAL KNOWLEDGE.
Contents
FILM FORM: HISTORY, THEORY AND EVOLUTION. FROM 'PRE-CINEMA" TO GODARD.

Teaching Methods
LECTURES, FILM SCREENINGS.
Verification of learning
ORAL EXAM AS A DIALOGUE BETWEEN PROFESSOR AND STUDENTS.
Texts
ENCICLOPEDIA DEL CINEMA, ROMA, TRECCANI, 2003-05, 5 VOLL.: DI QUESTA OPERA, CONSIDERATA COME UN MANUALE O IL TESTO DI BASE PER LA PREPARAZIONE DEL CORSO, SARANNO DA STUDIARE LE SEGUENTI PARTI:
A) VOCI-QUADRO SU CINEMATOGRAFIE NAZIONALI: FRANCIA (VOL. II); GERMANIA (VOL. II); ITALIA (VOL. III); RUSSIA (VOL. IV); STATI UNITI (VOL. V)
B) VOCI-PROFILI SU SINGOLI REGISTI: CHAPLIN (VOL. I);DREYER (VOL. II); EJZENSTEJN (VOL II); GODARD (VOL. III); GRIFFITH (VOL. III); LANG F. (VOL. III); LUMIÈRE (VOL. III); MÉLIÈS (VOL. IV); MURNAU (VOL. IV); OZU (VOL. IV); PORTER (VOL. IV); RENOIR (VOL IV); VERTOV (VOL. V); WELLES (VOL. V)
S. BERNARDI, L'AVVENTURA DEL CINEMATOGRAFO. STORIA DI UN'ARTE E DI UN LINGUAGGIO, VENEZIA, MARSILIO, 2007, PP. 7-93

More Information
FILMOGRAFIA
I FILM DELLE ORIGINI – ANTOLOGIA DI OPERE DEI LUMIÈRE, DI MÉLIÈS, DI EDISON, DI PORTER (1894-1906); GRIFFITH E I CORTOMETRAGGI PER LA BIOGRAPH (A CORNER IN WHEAT, THE UNCHANGING SEA, AN UNSEEN ENEMY, THE NEW YORK HAT, THE MUSKETEERS OF PIG ALLEY, 1909-1913); THE BIRTH OF A NATION (GRIFFITH, 1915) E INTOLERANCE (GRIFFITH, 1916); DAS KABINETT DES DOKTORS CALIGARI (WIENE, 1920); ANTOLOGIA DI FILM DELLE AVANGUARDIE STORICHE; FAUST (MURNAU, 1926); OKTJABR (EJZENŠTEIN, 1927); LA PASSION DE JEANNE D’ARC (DREYER, 1928); CELOVEK S KINOAPPARATOM (VERTOV, 1929); M (LANG, 1931); LA RÈGLE DU JEU (RENOIR, 1939); CITIZEN KANE (WELLES, 1941); TOKYO MONOGATARI (OZU, 1953); À BOUT DE SOUFFLE (GODARD, 1960).

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