In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of controversial events, arena where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the author's death, theories of reception, art as social practice, the institutional definition of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds".
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia art.

1) Anna Lisa Tota e Antonietta De Feo (2019), La comunicazione artistica, Carocci, Roma (in publication).
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (eds.) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The first part of the course is devoted to the changes taking place within the public and political scene and the most important theoretical contributions. In the second part will be considered the main areas of transformation of political communication in relation to the recent history of Italy. In the third part will analyze the role played by television and social media in the popularization of politics. The recent election campaign of the US Presidential Elections will be analyzed and studied.
The course includes the viewing and analysis of audiovisual materials propaganda such television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Examination program
- E. Novelli, Le campagne elettorali in Italia, Laterza, Roma 2018.
- G. Mazzoleni, R. Bracciale, La politica pop online, Il Mulino, Bologna 2019.
- C. Lombardo, E. Novelli, C. Ruggiero, (a cura di), La società nelle urne, Franco Angeli, Milano 2019, solo parte seconda pag. 115-285.

For students of the Master's Degree in International Relations of Political Science, for which the examination is worth eight credits, the program also includes one of the following texts:
- C. Lombardo, E. Novelli, C. Ruggiero, (a cura di), La società nelle urne, Franco Angeli, Milano 2019, pag. 11-112.
- Paolo Mancini, Il PostPartito, Il Mulino, Bologna, 2015.
- Ilvo Diamanti, Marc Lazar, Popolocrazia, Laterza, Roma 2018.

The following audiovisual materials supplement the course and their vision is suggested to the students.
– “Mi consenta” La Grande Storia, Rai Tre: http://www.lagrandestoria.rai.it/dl/portali/site/puntata/ContentItem-39b8c91a-4ca4-4ad1-8429-00e11b21b042.html
– “I politici e la tv”, Correva l’anno, Rai Tre, http://www.raiplay.it/video/2016/09/Correva-lanno—I-politici-e-la-tv-del-19092016-bae0add3-4fb2-4730-ad11-fffea112e7de.html
- "70 years of Italian electoral campaigns". 1 part: https://www.youtube.com/watch?v=BMYA6nWs594
- "70 years of Italian electoral campaigns". 2 part: https://www.youtube.com/watch?v=__F8kF9ObFA

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

Re-Animation: contemporary animation as new dominant logic of moving images.

Paying particular attention to the conjunction between theories and practices, the course will focus on styles of the new animation products looking firstly at the dialectic between innovation and tradition, but also between aesthetic and narrative forms coming from different cultural paradigms. Without forgetting the way in which animation software is also used in live action cinema, the course will highlight how the concept of "re-animation" should also be understood as revitalization and problematization, carried out by animation itself, of historical, political and cultural issues involving new moving images.

C. Uva, P. Wells (a cura di), Re-Animation.L’animazione contemporanea tra cinema, televisione, videoarte e nuovi media, «Imago. Studi di cinema e media», n. 16, 2017.

C. Uva, Il sistema Pixar, Il Mulino, Bologna 2017.

Handout.

The first part of the course is devoted to the changes taking place within the public and political scene and the most important theoretical contributions. In the second part will be considered the main areas of transformation of political communication in relation to the recent history of Italy. In the third part will analyze the role played by television and social media in the popularization of politics. The recent election campaign of the US Presidential Elections will be analyzed and studied.
The course includes the viewing and analysis of audiovisual materials propaganda such television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Examination program
- E. Novelli, Le campagne elettorali in Italia, Laterza, Roma 2018.
- G. Mazzoleni, R. Bracciale, La politica pop online, Il Mulino, Bologna 2019.
- C. Lombardo, E. Novelli, C. Ruggiero, (a cura di), La società nelle urne, Franco Angeli, Milano 2019, solo parte seconda pag. 115-285.

For students of the Master's Degree in International Relations of Political Science, for which the examination is worth eight credits, the program also includes one of the following texts:
- C. Lombardo, E. Novelli, C. Ruggiero, (a cura di), La società nelle urne, Franco Angeli, Milano 2019, pag. 11-112.
- Paolo Mancini, Il PostPartito, Il Mulino, Bologna, 2015.
- Ilvo Diamanti, Marc Lazar, Popolocrazia, Laterza, Roma 2018.

The following audiovisual materials supplement the course and their vision is suggested to the students.
– “Mi consenta” La Grande Storia, Rai Tre: http://www.lagrandestoria.rai.it/dl/portali/site/puntata/ContentItem-39b8c91a-4ca4-4ad1-8429-00e11b21b042.html
– “I politici e la tv”, Correva l’anno, Rai Tre, http://www.raiplay.it/video/2016/09/Correva-lanno—I-politici-e-la-tv-del-19092016-bae0add3-4fb2-4730-ad11-fffea112e7de.html
- "70 years of Italian electoral campaigns". 1 part: https://www.youtube.com/watch?v=BMYA6nWs594
- "70 years of Italian electoral campaigns". 2 part: https://www.youtube.com/watch?v=__F8kF9ObFA

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

Re-Animation: contemporary animation as new dominant logic of moving images.

Paying particular attention to the conjunction between theories and practices, the course will focus on styles of the new animation products looking firstly at the dialectic between innovation and tradition, but also between aesthetic and narrative forms coming from different cultural paradigms. Without forgetting the way in which animation software is also used in live action cinema, the course will highlight how the concept of "re-animation" should also be understood as revitalization and problematization, carried out by animation itself, of historical, political and cultural issues involving new moving images.

C. Uva, P. Wells (a cura di), Re-Animation.L’animazione contemporanea tra cinema, televisione, videoarte e nuovi media, «Imago. Studi di cinema e media», n. 16, 2017.

C. Uva, Il sistema Pixar, Il Mulino, Bologna 2017.

Handout.

The course deals with the study and analysis of images and it refers particularly to the social aspects that affect the meaning construction. The first part of the course will provide the analytical and methodological tools to analyze images and photos (Roland Barthes' and Susan Sontag's theories will be considered). The second part will focus on the public and social uses of photos, devoting a special attention to the images of controversial pasts (wars, natural disasters, violence, terrorist attacks). Moreover the following topics will be illustrated: a) the relation between memory and photography; b) the digital photography; c) selfie and social identities; d) photography as art; e) photography and fashion.

1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Susan Sontag (1973), On Photography, Chapter 1 "In Plato's Cave, RosettaBooks, New York, pp. 1-19.
3) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi, Torino, pp. 193-211.
4) Barbie Zelizer (2004), The Voice of the Visual in Memory, in Phillips R. Kendall (Hg.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
5) Anna Lisa Tota (2013), A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition , in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, pp. 41-64.
6) André Gunthert (2016), L'immagine condivisa. La Fotografia digitale, soltanto capitoli 11 e 12, Contrasto Edizioni, Roma, pp. 135-173.
7) Susie Linfield, La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, pp. 10-46.
8) Nicholas Mirzoeff (2002), Introduzione alla cultura visuale, Capitolo Secondo, Meltemi, Roma, pp. 111-144.

The articles and essays will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (personal webpage).

Definition of Communication. In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis and detection of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.

The items to be studied for the oral exam are the following:


A. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): except for chapters 3, 4, 5, 10, 11.
B. Poggi I.: Le parole del corpo. Introduzione alla comunicazione multimodale. Carocci, Roma 2006.
C. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
D. One text or set of texts, chosen among the following 8 items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Both of the following texts:
a. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
b. Riva G.: I social network. Bologna, Il Mulino

7. Both of the following texts:
a. Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
b. Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

8. 4 papers about multimodal communication, chosen among the following, to be downloaded from:
http://www.comunicazione.uniroma3.it/it/page/25/_/___22

Vincze L., Poggi I. (2013) Multimodal markers of One's Own and the Other's Vagueness. AI*HCI 2013, Workshop of the XIII AI*IA Conference, December 4th

Poggi I., D'Errico F. (2013) Towards the Parody Machine. Qualitative analysis and cognitive processes in the parody of a politician. In A. Petrosino,

D'Errico F and Poggi I., Vincze L. (2013) Discrediting body. A multimodal strategy to spoil the other's image. In Poggi I., D'Errico F. (et al.; eds)

D'Errico, F., Vincze L. Poggi, I. (2013). Vagueness in Political Discourse. In S. Villalta & Cabrio (eds) Proceedings of 2nd International Workshop on

Poggi I, D'Errico F., Vincze L. (2013) Comments in words, face and body. Journal of multimodal users interface. Vol. 7, Issue 1 (2013), Page 67-78; DO

D'Errico, F., Vincze L. Poggi, I. (2013). Face and head comments. Taking the floor without words. In Mello, H., Pettorino, M., and Raso, T., editors,

Signorello, R., D'Errico, F., Poggi, I., Demolin, D., and Mairano, P. (2013). Charisma perception in political speech: a case study. In Mello, H., Pet

D'Errico F., Signorello R., Poggi I..(2013) The perception of charisma from voice. A cross-cultural study. Proceedings of Aci Conference, IEEE, pp. 55-

D’Errico F. and Poggi I.: “The Bitter Laughter”. When Parody Is a Moral and Affective Priming in Political Persuasion. Frontiers in Psychology, 09 August 2016 | https://doi.org/10.3389/fpsyg.2016.01144 (download from Frontiers)
Other texts can be substituted for those at item C. upon agreement with the teacher.

Narrative spaces: Travel

(a) a text group, by choice, among:
Goffredo Parise, Lontano, Milano, Adelphi, 2009 + Id., Guerre politiche, Milano, Adelphi, 2007 + Id., L’eleganza è frigida, Milano, Adelphi, 2008 or Giorgio Manganelli, Esperimento con l’India, Milano, Adelphi, 1992 + Id., La favola pitagorica, Milano, Adelphi, 2005 + Id., L’isola pianeta, Milano, Adelphi, 2006 or Gianni Celati, Narratori delle pianure, Milano, Feltrinelli, 2003 + Id., Verso la foce, Milano, Feltrinelli, 2002 + Id., Avventure in Africa, Milano, Feltrinelli, 2008

b) a critical text about the choosen author:
Goffredo Parise, edited by Marco Belpoliti and Andrea Cortellessa («Roga» 36), Milano, Marcos y Marcos, 2016 or Graziella Pulce, Giorgio Manganelli. Figure e sistema, Firenze, LeMonnier, 2004 or Gianni Celati, edited by Marco Belpoliti and Marco Sironi («Riga» 28), Milano, Marcos y Marcos, 2008

c) Luigi Marfè, Oltre la «fine dei viaggi». I resoconti dell’altrove nella letteratura contemporanea, Olschki 2009

d) to give a context in 20th and 21st century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, quarto volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

Filmografia: Gianni Celati, Strada Provinciale delle Anime (1991); Id., Case sparse. Visioni di case che crollano (2003: included in Id., Cinema all’aperto, Roma, Fandango, 2011); Id., Passar la vita a Diol Kadd (Milano, Feltrinelli, 2011)

WARNING: THE COURSE'S PROGRAM, ALONG WITH THE OTHER TEACHING MATERIALS, IS AVAILABLE AT THIS LINK:
https://www.dropbox.com/sh/3mu0ek5hmlfilr8/AABaBEow7wrjhNepajp5yrUTa?dl=0
THE COURSE WILL START ON 11.03.2020 IN AULA 10, V. OSTIENSE 139

This course is offered as part of the Master Research Degree Program in Cultural Leadership offered at the University of Groningen, The Netherlands. It is held at Roma Tre and can be attended by italian and Erasmus students as well. The two, final lessons will be run by Dr. Annie Van der Oefer (University of Groningen)

Content of the Course Unit

Media shape culture; the digital media are reshaping culture today. This module introduces a combination of perspectives on media objects and practices of use: historical, cognitive, sociological, ethnographic, esthetical, and curatorial. Media technologies are studied as tools for research (digital humanities), for education, and as curatorial tools used for presentation and mediation. The course is divided into three parts: 1) Media as systems of representation; 2) Media as cultural industry, 3) Media as technology. Each part is addressed first in theoretical terms and subsequently explored through selected cases studies and, occasionally, through the contribution of media practitioners.

Learning Outcomes
Upon successful completion of the course unit, students are able to:
- Use the main theoretical and methodological approaches in analyzing the relationship between media and culture, with particular reference to Sociology and Cultural Studies
- Understand the key role of media in “shaping culture” and in the process through which culture and its (both symbolic and material, tangible and non tangible) expressions are assigned meaning and (aesthetic, social, economic, etc.) value
- Understand how the role of media in “shaping culture” has changed with the diffusion of digital technologies/environments, user-generated contents, the shift from “broadcast cultures” to “participative cultures”
- Deconstruct media representations of culture and its expressions, and uncover the functioning of discourses on culture that are reproduced by the media
- Understand the role and functioning of media as a cultural/creative industry, whose products are forms of culture in their own right (notion of “cultural reflexivity”)
- Develop their own analysis of media texts
- Effectively use media technologies and languages in cultural sector-related professions: as tools for research (digital humanities), for education, and as curatorial tools

Calculation of student workload
The seminar comprises 6 EC = 125 hrs. Breakdown in different tasks for the course:

Attendance meetings: 30 hrs
Studying compulsory readings in preparation of meetings: 45 hrs
Group assignment: 15
Individual assignment: 35
Total: 125

* Students interested in taking this course are kindly requested to contact Dr. Giomi in order to access the folder containing teaching materials and readings (elisa.giomi@uniroma3.it).

Day to Day program and Readings

FIRST WEEK
Lesson 1 – Dr Giomi
Introduction

The first lesson aims to answer the following questions: 1) why study the Media in a Cultural Leadership Course?, and 2) how to study the Media in a Cultural Leadership Perspective? We will be exploring the role of media in society, their shaping and reshaping culture, and their being deeply embedded in the “texture” of our everyday life experience. Secondly, we will be describing the course approach, that consider the media as cultural industries, systems of representation and technologies. We will subsequently start to illustrate preliminary and basic notions about the Media, starting from their evolution from the early days of printing in the late Middle Ages to the present age of information communication technology and the information society.

Readings
• “The texture of experience”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 1-12.
• On the MAG episode, that will be discussed in class: https://www.newcriterion.com/blogs/dispatch/make-art-history-great-again
• “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 35-59. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)

SECOND WEEK
Lesson 2 – Dr Giomi
What are the media?

In this lesson, some of the main concepts and models involved in the study of the media will be addressed. Topic include; the “mass” concept, the “mass audience”; “mass” and “popular culture”; the shift from broadcasting and mass audience to new media and participatory culture.

Readings
• “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 61-89. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)
• “What is new about new media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 145-173 (compulsory for everyone and individual assignment n. 1: to be presented by one or two students; provided by Dr. Giomi)

Lesson 3 – Dr Giomi
Media and Culture

In this lesson, the relationship between media and culture is approached, grounding on the assumption that it is impossible now to distinguish between a sphere of culture and that of media. An overview is provided of the Culturalist perspective on mass media, that considers all the different aspects of media at once: their content (that is, media representations), the context of media production and reception, and all the surrounding practices (media as cultural industry and technologies). In order to highlight the contribution of the Culturalist perspective, we will start by comparing common sense definitions of “culture” - provided by contemporary popular media texts, such as TV talk shows and magazine articles – to the definitions elaborated by the main Culturalist theories: the Frankfurt School and critical cultural theory, British Cultural Studies and their redemption of the popular. Other topics include: commercialization of culture; communication technology and culture.

Readings
• Voices “Culture” and “Cultural Theory” in The Sage Dictionary in Cultural Studies, Sage, London (4 pages in total). (compulsory: to be read before lesson; provided by Dr. Giomi)
• “Mass Communication and culture” di McQuail, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 121-144. (compulsory for everyone and to be presented by one or two students; provided by Dr. Giomi)
• Stuart Hall, “Cultural Studies and the Center: some problematics and problems”, in Culture, Media, Language. Working Papers in Cultural Studies 1972-1979, Hutchinson, London, pp.15-47 (non compulsory, provided by Dr. Giomi)

THIRD WEEK
Lesson 4 and Lesson 5
Media as systems of representation: power, ideology, meaning

The first dimension of analysis of the media is addressed starting from the description of the mediation process, with specific focus on what is mediated (the meaning) and to the process by which meaning is given and taken (signification). The processes of meaning production are signifying practices and to understand culture is to explore how meaning is produced symbolically as forms of representation. This issue is approached through the theoretical tools elaborated by those Cultural Studies scholars who have focused on the questions of representation with an especial emphasis on the ways by which the world is socially constructed and represented to and by us. Issues that will be explored include: how representation is bound up with questions of power; the “politics of representation”; meaning and ideology: These issues and analytical categories will be applied to the analysis of a media product that had built up a cult following; the Twilight saga. Different and “competing” readings of this product and of its ideology will be compared in order to underline the “politics of representation” that is at work here.

Readings

• “Mediation”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 13-18. (non compulsory)
• Voice “Representation” in The Sage Dictionary in Cultural Studies, Sage, London (2 pages). (compulsory, provided by Dr. Giomi)
• “Introduction”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 1-8. (compulsory, provided by Dr. Giomi)
• “Meaning, representation and power”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 13-38. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Durham, M.G. [2012], Blood, lust and love, in «Journal of Children and Media», 6, 3, pp. 281-299. (compulsory and to be presented by one or two students, provided by Dr. Giomi)
• Franiuk, R., Scherr, S. [2013], The lion fell in love with the lamb, in «Feminist Media Studies», 13,1, pp. 14-28. (non compulsory)
To be watched before lesson n. 5: Twilight (film n. 1 of the saga)


FOURTH WEEK
Lesson 6 – Dr Giomi
Media as Cultural industry: the process of value production

In these lessons the processes of mediation and of meaning production will explored in relation to the economic, institutional and political forms of its organization. We will address how these forms have changed during the twentieth century, as well as issue of ownership and control of the cultural industries, and how these impact on meaning production. We will ground on the assumption that industry is central to controlling the circulation of meaning in society. Different types of cultural industry will therefore be explored, as well as how interactive technologies have changed the production of culture. The discourse then moves on to analyzing the relations between media (considered as both representations and as cultural industries) and “value”: media as actors contributing to the negotiation process through which culture and its (both symbolic and material) expressions are assigned meaning and (aesthetic, social, economic, etc.) values. The focal point is that there are principles of production of value laid out within the old media technologies that are still active and valid for the new media. The conceptualization of value in media (and other) production in terms of political economy (value in use or exchange) vs. other ways of understanding value, such as value as symbolic exchange; the relation of these two principles of value generation to each other as the key factor in understanding how value is created in both production and consumption. Issues that are explored include how value changes in changing media

Readings

• “The industrial production of meaning”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57. (compulsory, provided by Dr. Giomi)
• “Introduction”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory, provided by Dr. Giomi)
• “Media production and cultural industries”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016 (non compulsory)

FIFTH WEEK
Lesson 7 – Dr Giomi
Media production, value production: the case of “Nordic noir” and of European TV crime series

In this lesson, the dynamic and process of value production will be explored taking as a case study that of “Nordic Noir” and of European TV crime series. Nordic Noir, or Scandinoir, defines a form of Scandinavian crime fiction whose most popular TV expressions come from Sweden and Denmark (the TV series Wallander, 2005–2014; Forbrydelsen/The Killing, 2007–2012, and Broen/The Bridge, 2011–present). Nordic Noir has had a global influence in Europe (to the point that Netflix has created a specific category, “European Crime Drama”) as well as outside Europe, and has helped in reinventing a new breed of miniseries, one that is uniquely suited to the requirements of the new broadcasting age. Such influence can be felt at many levels (aesthetic, narrative, ideological, moral, etc.). We will take into exam the visual one, focusing on the role of landscape. Landscape has become a distinctive feature of Nordic Noir, part of its appeal, an “entertainment value” in its own, and a “trade-mark” of quality (a presence, that is, indicating high aesthetic and production standards). At the same time, Nordic Noir has played a key role in producing the (aesthetic and economic) value of Scandinavian countries (the “Sweden trade-mark”): the portrayal of their landscapes offered by TV representations and their peculiar atmosphere have contributed to the “typification” of Scandinavian countries in collective cultural imagery, making these countries popular over the world and boosting their tourism. The same has happened with the so-called “Celtic Noir” such as Broadchurch, 2013–present; Southcliffe, 2013, Gwyll/Hinterland, 2013, Shetland 2013-present (all shot in the UK), and, more in general, with procedural recently produced in other European countries, ranging from Iceland to Finland, Norway, Belgium, France, Italy, Germany, and the Netherlands. Examining the “landscape in Nordic Noir” case will serve the goal of laying down the theoretical and methodological background that will be used in the study of the Roman Aqueduct System case

Tv series (to be viewed at home)
First episode of Wallander, 2005–2014
or
Forbrydelsen/The Killing, 2007–2012
or
Broen/The Bridge, 2011–present
plus
Broadchurch, 2013
or
Gwyll/Hinterland, 2013
or
Shetland 2013-present
plus
Glacé /The Froezen Dead (2017)
(others will be indicated later)

Readings

• Creeber, G. [2015], Killing us softly: Investigating the aesthetics,philosophy and influence of Nordic Noir Television, in «Journal of Popular Television», 3, 1, pp. 21-35. (non compulsory, provided by Dr Giomi)
• Marit Waade, A., Melancholy in Nordic noir: Characters, landscapes, light and music, «Critical Studies in Television», First Published December 19, 2017 (compulsory; provided by Dr. Giomi )
• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, «New Review of Film and Television Studies», 2016, VOL . 14, NO. 3, 364–385 (compulsory and to be presented by one or two students; provided by Dr. Giomi)


SIXTH WEEK
Lesson 8 – Dr Giomi and Dr Addamiano
Inter-modules case study: the Roman Aqueduct System

In this lesson, that is common to the Media Module and to the Sustainability and Cultural Awareness Module, the Roman Aqueduct System case study is addressed by means of a multidisciplinary perspective. We will analyze the ‘narrative stratification’ the Aqueduct has undergone in and through its numerous representations diffused by diverse media over the last 50 years. The goal is to deconstruct the overlapping “layers of meaning” that media storytelling has been accumulating so far. Drawing on the theoretical and methodological base provided in the previous lesson (especially in the one about Noridc Noir), we will focus on the role of landscape in media representations and value production. Research questions are: 1) how have the Aqueduct, its relation to the territory and its inhabitants, and to Italian society at large, been framed and represented by movies, documentaries, TV series, digital narratives produced in different historical moments? 2) How have these narratives/discursive constructions contributed to produce the (varying) value(s) of the Aqueduct and of its territory and landscape in different historical moments?
Films that will be screened and analysed during the lesson are:
- Mamma Roma (P. Pasolini, 1962 - English version available)
- The Great Beauty (P. Sorrentino, 2013 - English version available)
- Fortunata (S. Castellito, 2017 - English version not available: a montage will be shown and illustrated)
In each of them, the Aqueduct is a heritage element that connotes the territory, the environment, its social tissue in completely different ways.


SEVENTH WEEK
Lesson 9 and Lesson 10 – Prof Dr Van den Oever, University of Groningen
(New) Media Technologies and Value Creation: Museums & Media Curating

Central to this last part of the course is the question of (new) media technologies and value creation. All the processes associated with the double role of media as systems of representation and media as a cultural industry in its own right, have become increasingly intense and have been reconfigured by the diffusion of digital technologies/environments, user-generated contents, and the shift from “broadcast cultures” to “participative cultures”.
This last week, we will explore the question of media from the perspective of a study of media as technologies which tend to have a specific material and sensorial makeup, and a specific impact on representation, audience experience, and practices of use. Media will be considered in their role as new media technologies which first have an impact (individually, culturally) and create novelty experiences; and next become part of a practice of media use in which they eventually may become old and obsolete (e.g., the typewrite) and are to be replaced by new devices (e.g., the pc, the tablet, the smartphone).
In order to highlight how media as specific information, communication, and visualization technologies impact on production and consumption processes, and on the entire “value production chain”, we will address the question: which specific role do media technologies play in the production of aesthetic, political, economic, and cultural value?
The examples to focus on will be related to media use in museums and big heritage institutions.

Readings

o Silverstone, R. [1988] “Museums and the media: A theoretical and methodological exploration.” In: The International Journal of Museum Management and Curatorship. pp. 231-241. Available online.
o Peters, Benjamin. [2009] “And lead us not into thinking the new is new: a bibliographic case for new media history.” Available online.
o Fossati, Giovanna. [2009] “Framing Film (in Transition): an Introduction.” In From Grain to Pixel. The Archival Life of Film in Transition. pp. 13-32. Digital file attached.
o Odin, Roger. [2016] “Cinema in My Pocket.” In: Exposing the Film Apparatus. The Film Archive as a Research Lab. Giovanna Fossati and Annie van den Oever, eds., pp. 45-53. Digital file attached.
o Kittler, Friedrich. [1996] “The History of Communication Media.” Published online in ctheory http://www.ctheory.net/articles.aspx?id=45 Available online.
o (For optional reading) Fossati, Giovanna, and Annie van den Oever. [2016] “Introduction”. In Exposing the Film Apparatus. The Film Archive as a Research Lab. pp. 13-37. Digital file attached.

COMPULSORY READINGS
• “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 35-59.
• “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 61-89. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)
• “What is new about new media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 145-173 (compulsory for everyone and individual assignment n. 1: to be presented by one or two students; provided by Dr. Giomi)
• Voices “Culture” and “Cultural Theory” in The Sage Dictionary in Cultural Studies, Sage, London (4 pages in total). (compulsory: to be read before lesson; provided by Dr. Giomi)
• “Mass Communication and culture” di McQuail, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 121-144. (compulsory for everyone and to be presented by one or two students; provided by Dr. Giomi)
• Voice “Representation” in The Sage Dictionary in Cultural Studies, Sage, London (2 pages). (compulsory, provided by Dr. Giomi)
• “Introduction”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 1-8. (compulsory, provided by Dr. Giomi)
• “Meaning, representation and power”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 13-38. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Durham, M.G. [2012], Blood, lust and love, in «Journal of Children and Media», 6, 3, pp. 281-299. (compulsory and to be presented by one or two students, provided by Dr. Giomi)
• "The industrial production of meaning”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57. (compulsory, provided by Dr. Giomi)
• “Introduction”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory, provided by Dr. Giomi)
• “Media production and cultural industries”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Marit Waade, A., Melancholy in Nordic noir: Characters, landscapes, light and music, «Critical Studies in Television», First Published December 19, 2017 (compulsory; provided by Dr. Giomi )
• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, «New Review of Film and Television Studies», 2016, VOL . 14, NO. 3, 364–385 (compulsory and to be presented by one or two students; provided by Dr. Giomi)
o Silverstone, R. [1988] “Museums and the media: A theoretical and methodological exploration.” In: The International Journal of Museum Management and Curatorship. pp. 231-241. Available online.
o Peters, Benjamin. [2009] “And lead us not into thinking the new is new: a bibliographic case for new media history.” Available online.
o Fossati, Giovanna. [2009] “Framing Film (in Transition): an Introduction.” In From Grain to Pixel. The Archival Life of Film in Transition. pp. 13-32. Digital file attached.
o Odin, Roger. [2016] “Cinema in My Pocket.” In: Exposing the Film Apparatus. The Film Archive as a Research Lab. Giovanna Fossati and Annie van den Oever, eds., pp. 45-53. Digital file attached.
o Kittler, Friedrich. [1996] “The History of Communication Media.” Published online in ctheory http://www.ctheory.net/articles.aspx?id=45 Available online.


OPTIONAL READINGS
• The texture of experience”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 1-12.
• On the MAG episode, that will be discussed in class: https://www.newcriterion.com/blogs/dispatch/make-art-history-great-again
• Stuart Hall, “Cultural Studies and the Center: some problematics and problems”, in Culture, Media, Language. Working Papers in Cultural Studies 1972-1979, Hutchinson, London, pp.15-47 (non compulsory, provided by Dr. Giomi)
• “Mediation”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 13-18. (non compulsory)
• Franiuk, R., Scherr, S. [2013], The lion fell in love with the lamb, in «Feminist Media Studies», 13,1, pp. 14-28. (non compulsory)
• “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016 (non compulsory)
• Creeber, G. [2015], Killing us softly: Investigating the aesthetics,philosophy and influence of Nordic Noir Television, in «Journal of Popular Television», 3, 1, pp. 21-35. (non compulsory, provided by Dr Giomi)
• (For optional reading) Fossati, Giovanna, and Annie van den Oever. [2016] “Introduction”. In Exposing the Film Apparatus. The Film Archive as a Research Lab. pp. 13-37. Digital file attached.

The course is divided in two.
The first part is a general introduction to the basic concepts of public communication. The topics included are: Forms and Devices of Public Communication, Features of the Public Space in Global Communication Networks, and the Development of Public Opinion.
The second part of the course explores the relationship between public communication and the media. The media will be approached as a space for negotiation between civil society and its institutions. Students can take part in an exercise focused on case studies on how old and new media platforms contribute to the narratives of public and political phenomena.

M. Castells (2017), Comunicazione e potere. UBE Paperback, Milano 2017 (nuova edizione) (Capitoli: Le reti digitali e la cultura dell’autonomia; Il potere nella società in rete; La comunicazione nell'età digitale; Intervenire sulle reti di comunicazione: politica mediatica, politica dello scandalo e crisi della democrazia; Riprogrammare le reti di comunicazione: movimenti sociali, politica insorgente e nuovo spazio pubblico).

In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of controversial events, arena where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the author's death, theories of reception, art as social practice, the institutional definition of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds".
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia art.

1) Anna Lisa Tota e Antonietta De Feo (2019), La comunicazione artistica, Carocci, Roma (in publication).
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (eds.) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The course deals with the study and analysis of images and it refers particularly to the social aspects that affect the meaning construction. The first part of the course will provide the analytical and methodological tools to analyze images and photos (Roland Barthes' and Susan Sontag's theories will be considered). The second part will focus on the public and social uses of photos, devoting a special attention to the images of controversial pasts (wars, natural disasters, violence, terrorist attacks). Moreover the following topics will be illustrated: a) the relation between memory and photography; b) the digital photography; c) selfie and social identities; d) photography as art; e) photography and fashion.

1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Susan Sontag (1973), On Photography, Chapter 1 "In Plato's Cave, RosettaBooks, New York, pp. 1-19.
3) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi, Torino, pp. 193-211.
4) Barbie Zelizer (2004), The Voice of the Visual in Memory, in Phillips R. Kendall (Hg.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
5) Anna Lisa Tota (2013), A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition , in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, pp. 41-64.
6) André Gunthert (2016), L'immagine condivisa. La Fotografia digitale, soltanto capitoli 11 e 12, Contrasto Edizioni, Roma, pp. 135-173.
7) Susie Linfield, La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, pp. 10-46.
8) Nicholas Mirzoeff (2002), Introduzione alla cultura visuale, Capitolo Secondo, Meltemi, Roma, pp. 111-144.

The articles and essays will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (personal webpage).

The first part of the course is devoted to the changes taking place within the public and political scene and the most important theoretical contributions. In the second part will be considered the main areas of transformation of political communication in relation to the recent history of Italy. In the third part will analyze the role played by television and social media in the popularization of politics. The recent election campaign of the US Presidential Elections will be analyzed and studied.
The course includes the viewing and analysis of audiovisual materials propaganda such television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Examination program
- E. Novelli, Le campagne elettorali in Italia, Laterza, Roma 2018.
- G. Mazzoleni, R. Bracciale, La politica pop online, Il Mulino, Bologna 2019.
- C. Lombardo, E. Novelli, C. Ruggiero, (a cura di), La società nelle urne, Franco Angeli, Milano 2019, solo parte seconda pag. 115-285.

For students of the Master's Degree in International Relations of Political Science, for which the examination is worth eight credits, the program also includes one of the following texts:
- C. Lombardo, E. Novelli, C. Ruggiero, (a cura di), La società nelle urne, Franco Angeli, Milano 2019, pag. 11-112.
- Paolo Mancini, Il PostPartito, Il Mulino, Bologna, 2015.
- Ilvo Diamanti, Marc Lazar, Popolocrazia, Laterza, Roma 2018.

The following audiovisual materials supplement the course and their vision is suggested to the students.
– “Mi consenta” La Grande Storia, Rai Tre: http://www.lagrandestoria.rai.it/dl/portali/site/puntata/ContentItem-39b8c91a-4ca4-4ad1-8429-00e11b21b042.html
– “I politici e la tv”, Correva l’anno, Rai Tre, http://www.raiplay.it/video/2016/09/Correva-lanno—I-politici-e-la-tv-del-19092016-bae0add3-4fb2-4730-ad11-fffea112e7de.html
- "70 years of Italian electoral campaigns". 1 part: https://www.youtube.com/watch?v=BMYA6nWs594
- "70 years of Italian electoral campaigns". 2 part: https://www.youtube.com/watch?v=__F8kF9ObFA

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

Definition of Communication. In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis and detection of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.

The items to be studied for the oral exam are the following:


A. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): except for chapters 3, 4, 5, 10, 11.
B. Poggi I.: Le parole del corpo. Introduzione alla comunicazione multimodale. Carocci, Roma 2006.
C. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
D. One text or set of texts, chosen among the following 8 items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Both of the following texts:
a. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
b. Riva G.: I social network. Bologna, Il Mulino

7. Both of the following texts:
a. Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
b. Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

8. 4 papers about multimodal communication, chosen among the following, to be downloaded from:
http://www.comunicazione.uniroma3.it/it/page/25/_/___22

Vincze L., Poggi I. (2013) Multimodal markers of One's Own and the Other's Vagueness. AI*HCI 2013, Workshop of the XIII AI*IA Conference, December 4th

Poggi I., D'Errico F. (2013) Towards the Parody Machine. Qualitative analysis and cognitive processes in the parody of a politician. In A. Petrosino,

D'Errico F and Poggi I., Vincze L. (2013) Discrediting body. A multimodal strategy to spoil the other's image. In Poggi I., D'Errico F. (et al.; eds)

D'Errico, F., Vincze L. Poggi, I. (2013). Vagueness in Political Discourse. In S. Villalta & Cabrio (eds) Proceedings of 2nd International Workshop on

Poggi I, D'Errico F., Vincze L. (2013) Comments in words, face and body. Journal of multimodal users interface. Vol. 7, Issue 1 (2013), Page 67-78; DO

D'Errico, F., Vincze L. Poggi, I. (2013). Face and head comments. Taking the floor without words. In Mello, H., Pettorino, M., and Raso, T., editors,

Signorello, R., D'Errico, F., Poggi, I., Demolin, D., and Mairano, P. (2013). Charisma perception in political speech: a case study. In Mello, H., Pet

D'Errico F., Signorello R., Poggi I..(2013) The perception of charisma from voice. A cross-cultural study. Proceedings of Aci Conference, IEEE, pp. 55-

D’Errico F. and Poggi I.: “The Bitter Laughter”. When Parody Is a Moral and Affective Priming in Political Persuasion. Frontiers in Psychology, 09 August 2016 | https://doi.org/10.3389/fpsyg.2016.01144 (download from Frontiers)
Other texts can be substituted for those at item C. upon agreement with the teacher.

Re-Animation: contemporary animation as new dominant logic of moving images.

Paying particular attention to the conjunction between theories and practices, the course will focus on styles of the new animation products looking firstly at the dialectic between innovation and tradition, but also between aesthetic and narrative forms coming from different cultural paradigms. Without forgetting the way in which animation software is also used in live action cinema, the course will highlight how the concept of "re-animation" should also be understood as revitalization and problematization, carried out by animation itself, of historical, political and cultural issues involving new moving images.

C. Uva, P. Wells (a cura di), Re-Animation.L’animazione contemporanea tra cinema, televisione, videoarte e nuovi media, «Imago. Studi di cinema e media», n. 16, 2017.

C. Uva, Il sistema Pixar, Il Mulino, Bologna 2017.

Handout.

We will read the first part of Hegel's Aesthetics Lessons.

G.W.F. Hegel, Lezioni di Estetica, Roma-Bari, Laterza: Parte generale: le forme universali dell’arte. Parte speciale (tutta).
A. Siani, M. Farina (a cura di), L’estetica di Hegel , Bologna, Il Mulino: Introduzione e capp. VII-XIV.

In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of controversial events, arena where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the author's death, theories of reception, art as social practice, the institutional definition of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds".
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia art.

1) Anna Lisa Tota e Antonietta De Feo (2019), La comunicazione artistica, Carocci, Roma (in publication).
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (eds.) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

Definition of Communication. In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis and detection of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.

The items to be studied for the oral exam are the following:


A. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): except for chapters 3, 4, 5, 10, 11.
B. Poggi I.: Le parole del corpo. Introduzione alla comunicazione multimodale. Carocci, Roma 2006.
C. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
D. One text or set of texts, chosen among the following 8 items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Both of the following texts:
a. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
b. Riva G.: I social network. Bologna, Il Mulino

7. Both of the following texts:
a. Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
b. Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

8. 4 papers about multimodal communication, chosen among the following, to be downloaded from:
http://www.comunicazione.uniroma3.it/it/page/25/_/___22

Vincze L., Poggi I. (2013) Multimodal markers of One's Own and the Other's Vagueness. AI*HCI 2013, Workshop of the XIII AI*IA Conference, December 4th

Poggi I., D'Errico F. (2013) Towards the Parody Machine. Qualitative analysis and cognitive processes in the parody of a politician. In A. Petrosino,

D'Errico F and Poggi I., Vincze L. (2013) Discrediting body. A multimodal strategy to spoil the other's image. In Poggi I., D'Errico F. (et al.; eds)

D'Errico, F., Vincze L. Poggi, I. (2013). Vagueness in Political Discourse. In S. Villalta & Cabrio (eds) Proceedings of 2nd International Workshop on

Poggi I, D'Errico F., Vincze L. (2013) Comments in words, face and body. Journal of multimodal users interface. Vol. 7, Issue 1 (2013), Page 67-78; DO

D'Errico, F., Vincze L. Poggi, I. (2013). Face and head comments. Taking the floor without words. In Mello, H., Pettorino, M., and Raso, T., editors,

Signorello, R., D'Errico, F., Poggi, I., Demolin, D., and Mairano, P. (2013). Charisma perception in political speech: a case study. In Mello, H., Pet

D'Errico F., Signorello R., Poggi I..(2013) The perception of charisma from voice. A cross-cultural study. Proceedings of Aci Conference, IEEE, pp. 55-

D’Errico F. and Poggi I.: “The Bitter Laughter”. When Parody Is a Moral and Affective Priming in Political Persuasion. Frontiers in Psychology, 09 August 2016 | https://doi.org/10.3389/fpsyg.2016.01144 (download from Frontiers)
Other texts can be substituted for those at item C. upon agreement with the teacher.

Re-Animation: contemporary animation as new dominant logic of moving images.

Paying particular attention to the conjunction between theories and practices, the course will focus on styles of the new animation products looking firstly at the dialectic between innovation and tradition, but also between aesthetic and narrative forms coming from different cultural paradigms. Without forgetting the way in which animation software is also used in live action cinema, the course will highlight how the concept of "re-animation" should also be understood as revitalization and problematization, carried out by animation itself, of historical, political and cultural issues involving new moving images.

C. Uva, P. Wells (a cura di), Re-Animation.L’animazione contemporanea tra cinema, televisione, videoarte e nuovi media, «Imago. Studi di cinema e media», n. 16, 2017.

C. Uva, Il sistema Pixar, Il Mulino, Bologna 2017.

Handout.

Film journalism between tradition and new challenges. The workshop will have the goal of observing the various media (daily paper and online newspaper, specialized magazines, television and radio) in the light of the main changes that in recent years have involved the entertainment information and in particular the movie information with the advent of the Internet and then of social networks. The crisis of critics and the birth of influencers, the ever-increasing space for gossip and new forms of narration of news about cinema. The workshop will also address specific cases such as the #metoo phenomenon and the Oscar's resounding error to 'La La Land' actually intended for 'Moonlight'. Students will be asked to produce an example of their choice (article, video interview, podcast or radio interview) among those proposed during the workshop.

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on the multiplication of the distribution platfomrs, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

Books and essays:

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione aggiornata, Bologna, Il Mulino, 2016. ;
E. Menduni, Entertainment, Bologna, Il Mulino, 2013.
F. Di Chio (a cura di), Mediamorfosi 2, Industrie e immaginari dell'audiovisivo digitale, Link idee per la televisione n. 22, Dicembre 2017 (selected essays - the whole "Immaginari" section - available at copy shop)

A theoretical and historical analysis of concepts like “Intermediality”, ”Expanded Arts”, “Artmix”, “Dramaturgy of the Arts” from the ‘60s to today.
An analysis of the influence of “Intermediality” on Cinema, Communication and New Media histories.
There will be encounters with Italian and foreign artists and film-maker.

- M.M. Gazzano (a cura di) Edison Studio. Il "silent film" e l'elettronica in relazione intermediale, Exorma, Roma 2015;
- F. Zecca, Cinema e intermedialità. Modelli di traduzione, Forum, Udine 2013.

OPTIONALLY:
- V. Catricalà (ed.), Media Art. Towards a new Definition of Arts in the Ages of Technology, Gli Ori - Fondazione Mondo Digitale, Roma 2015;
- L. Leuzzi, S. Partridge, REWIND/Italia. Early Video Art in Italy / I primi anni della videoarte in Italia, John Libbey Publishing, New Barnet 2016 (Italian/English);
- M. M. Gazzano, Kinema. Il cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno (new edition), Exorma, Roma 2019.

Foreign Students can plan specific bibliographies with the Professor and the Tutors.

In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of controversial events, arena where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the author's death, theories of reception, art as social practice, the institutional definition of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds".
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia art.

1) Anna Lisa Tota e Antonietta De Feo (2019), La comunicazione artistica, Carocci, Roma (in publication).
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (eds.) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The course deals with the study and analysis of images and it refers particularly to the social aspects that affect the meaning construction. The first part of the course will provide the analytical and methodological tools to analyze images and photos (Roland Barthes' and Susan Sontag's theories will be considered). The second part will focus on the public and social uses of photos, devoting a special attention to the images of controversial pasts (wars, natural disasters, violence, terrorist attacks). Moreover the following topics will be illustrated: a) the relation between memory and photography; b) the digital photography; c) selfie and social identities; d) photography as art; e) photography and fashion.

1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Susan Sontag (1973), On Photography, Chapter 1 "In Plato's Cave, RosettaBooks, New York, pp. 1-19.
3) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi, Torino, pp. 193-211.
4) Barbie Zelizer (2004), The Voice of the Visual in Memory, in Phillips R. Kendall (Hg.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
5) Anna Lisa Tota (2013), A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition , in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, pp. 41-64.
6) André Gunthert (2016), L'immagine condivisa. La Fotografia digitale, soltanto capitoli 11 e 12, Contrasto Edizioni, Roma, pp. 135-173.
7) Susie Linfield, La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, pp. 10-46.
8) Nicholas Mirzoeff (2002), Introduzione alla cultura visuale, Capitolo Secondo, Meltemi, Roma, pp. 111-144.

The articles and essays will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (personal webpage).

The course focuses on the forms of Media Literacy in contemporary digital culture. The first part is theoretical and deals with the transformations of pedagogical forms and school learning interpreted in synergy with the new forms of spectatorship based on the logic of participatory cultures. The second part focuses on the forms of the crito-film and the video-essay. Read in continuity with the theoretical analyzes on the motif of the picture frame, the paratext and the screen, these critical-expressive practices reinterpret peculiar motifs and styles of the history of cinema and art, promoting an unprecedented educational and creative elaboration of comparison with contemporary images.

Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

FILM AND VIDEOGRAPHY:
I bambini al cinema (1957) Francesco Maselli; Zorns Lemma (1970) Hollis Frampton; Live-taped Video Corridor (1970) Bruce Nauman; Present Continuous Past (1974) Dan Graham; Mein Fenster (La mia finestra, 1979) Zbigniew Rybczynski; Media (1980) Zbigniew Rybczynski; Tele-racconto (1991) Giacomo Verde; Evidence (1995) Godfrey Reggio; Blinkenlights (2001) Chaos Computer Club; Star Guitar (music video The Chemical Brothers, 2002) Michel Gondry; Arcade (2002) Chaos Computer Club; La pozzanghera (2006) Studio Azzurro; Be Kind Rewind (2007) Michel Gondry; Stereoscope (2008) Chaos Computer Club; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;
anthology of found footage film: Trade Tattoo (1937) Len Lye, Rainbow Dance (1936) Len Lye, Rose Hobart (1939) Joseph Cornell, Le film est déjà commencé? (1951) Maurice Lemaitre, A movie (1958) Bruce Conner, Very Nice, Very Nice (1961) Arthur Lipsett, La rabbia (1963) Pier Paolo Pasolini, La verifica incerta (1965) Gianfranco Baruchello, Alberto Grifi, Movie Drome (1965-1968) Stan Vanderbeek, The Cut-Ups (1966) William S. Burroughs, Antony Balch, Exploding Plastic Inevitable (1966) Andy Warhol, Le stelle di Mario Schifano (1967), L’inizio (Načalo, 1967) Artavazd Pelešian, Tom Tom the Piper’s Son (1969-1971) Ken Jacobs, La société du spectacle (1973) Guy Debord, Technology Transformation: Wonder Woman (1978) Dara Birnbaum, Mongoloid (music video Devo, 1978) Bruce Conner, Koyaanisqatsi (1983) Godfrey Reggio, A TV Dante. The Inferno (1985-1989) Peter Greeneway e Tom Phillips, Dal polo all’equatore (1986) Yervant Gianikian e Angela Ricci Lucchi, Art of Memory (1987) Woody Vasulka, Steps (1987) Zbigniew Rybczynski, Histoire(s) du cinéma. 1a Toutes les histoires (1988) Jean Luc Godard, Dab (1988-2016) John Oswald, Alchemie (1992) Jürgen Reble, Filmarilyn (1992) Paolo Gioli, Passage à l’acte (1993) Martin Arnold, 24 Hour Psycho (1993) Douglas Gordon, Telephones (1995) Christian Marclay, The Georgetown Loop (1996) Ken Jacobs, Yours (1997) Jeff Scher, Film Ist 1. Movement and time (1998) Gustav Deutsch, L’arrivée (1998) Peter Tscherkassky, Outer Space (1999) Peter Tscherkassky, Essere morti o essere vivi è la stessa cosa (2000) Gianluigi Toccafondo, The Pentagon Tv Commercials (2003) Cane CapoVolto, Fast Film (2003) Virgil Widrich, Celestial Subway Lines/ Salvaging Noise (2004) Ken Jacobs, Sync(Watch) (2005) Marco Brambilla, 24 seconds Psycho (2005) Chris Bors, Installazione Film Ist (1-12) (2006) Gustav Deutsch, Crumax Rins (2006, visual Plaid) Bob Jaroc, Blob. THI$ I$ NOTH&ND (2008), Domine Jesus (2008) Leonardo Carrano, Alessandro Pierattini, Pasolini Requiem (2009) Mario Verger, The Clock (2010) Christian Marclay, Delia Derbyshire, Loop Composer (2011) AK_Alias, Blue Matter, Change Your Mind (2011) AK_Alias, Distorted Times (2012) Gideon van der Stelt, Creation (2012) Marco Brambilla, Cinema rianimato n. 3 (2012) Daniele Puppi, Cirrus (music video Bonobo, 2013) Cyriak, The Emoshjining (2014) Donato Sansone, Sigla Mostra Internazionale del Cinema di Pesaro (2016) Virgilio Villoresi, Purge The Odd Couple (2017) Pogo, RedruM (2018) Pogo;
anthology of crito-film: Stile di Piero della Francesca (1954) Carlo Ludovico Ragghianti, Carpaccio (1947) Roberto Longhi e Umberto Barbaro, Il dramma di Cristo (1948) Luciano Emmer ed Enrico Gras, Pittori di provincia (1953) Lucio Fulci, Cinéastes de notre temps (1964-1972) e Cinéma, de notre temps (1989-2018);
anthology of and video-essay: Le combat avec l’ange (2004) Alain Bergala, The Doors of Perspection (2011) People Like Us (Vicki Bennett), Double Lives, Second Chances (2011) Cristina Álvarez López, Kubrick // One Point Perspective (2012) kogonada, Tarantino // From Below (2012) kogonada, Wes Anderson // From Above (2012) kogonada, The Career of Paul Thomas Anderson in Five Shots (2012) Kevin B. Lee, Rear Window Timelapse (2012) Jeff Desom, Zero De Doom (2012) Matthew Cheney, The Essay Film: Some Thoughts of Discontent (2013) Kevin B. Lee, Screen and Surface, Soft and Hard: the Cinema of Leos Carax (2013)Adrian Martin, Cristina Àlvarez López, [De Palma’s] Vision (2014) Adrian Martin, Cristina Àlvarez López, Wes Anderson // Centered (2014) kogonada, Peter Greenaway // Centered (2014) LaurentG, Evolution of the Dolly Zoom (2014) Vashi Nedomansky, Eyes of Hitchcock (2014) kogonada, Alphaville - A Crystal Maze (2014) Henrike Lindenberger, Cross-cut (2014) Drew Morton, Last Year At The Overlook (2015) Drew Morton, The Dutch Angle (2015) Jacob T. Swinney, First and Final Frames (2015) Jacob T.Swinney, The Definition of Film (2015) Richard Misek, Auteur in Space (2015) kogonada, Volumetric Cinema (2015) Kevin L. Ferguson, Manderley Motel (2015) Corey Creekmur, Blue Shining (2015) Richard Vezina, Joel & Ethan Coen - Shot | Reverse Shot (2016) Tony Zhou, Taylor Ramos, Amélie - Symmetry & Camera Movement (2016) Lessa Räbiger, Godard in Fragments (2016) kogonada, The Spielberg Touchscreen (2016) Ken Provencher, Graphic Spaces: Film Transitions in Steven Spielberg’s Filmmaking (2018) Andrea Minuz.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course deals with the study and analysis of images and it refers particularly to the social aspects that affect the meaning construction. The first part of the course will provide the analytical and methodological tools to analyze images and photos (Roland Barthes' and Susan Sontag's theories will be considered). The second part will focus on the public and social uses of photos, devoting a special attention to the images of controversial pasts (wars, natural disasters, violence, terrorist attacks). Moreover the following topics will be illustrated: a) the relation between memory and photography; b) the digital photography; c) selfie and social identities; d) photography as art; e) photography and fashion.

1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Susan Sontag (1973), On Photography, Chapter 1 "In Plato's Cave, RosettaBooks, New York, pp. 1-19.
3) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi, Torino, pp. 193-211.
4) Barbie Zelizer (2004), The Voice of the Visual in Memory, in Phillips R. Kendall (Hg.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
5) Anna Lisa Tota (2013), A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition , in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, pp. 41-64.
6) André Gunthert (2016), L'immagine condivisa. La Fotografia digitale, soltanto capitoli 11 e 12, Contrasto Edizioni, Roma, pp. 135-173.
7) Susie Linfield, La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, pp. 10-46.
8) Nicholas Mirzoeff (2002), Introduzione alla cultura visuale, Capitolo Secondo, Meltemi, Roma, pp. 111-144.

The articles and essays will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (personal webpage).

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on the multiplication of the distribution platfomrs, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

Books and essays:

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione aggiornata, Bologna, Il Mulino, 2016. ;
E. Menduni, Entertainment, Bologna, Il Mulino, 2013.
F. Di Chio (a cura di), Mediamorfosi 2, Industrie e immaginari dell'audiovisivo digitale, Link idee per la televisione n. 22, Dicembre 2017 (selected essays - the whole "Immaginari" section - available at copy shop)

A theoretical and historical analysis of concepts like “Intermediality”, ”Expanded Arts”, “Artmix”, “Dramaturgy of the Arts” from the ‘60s to today.
An analysis of the influence of “Intermediality” on Cinema, Communication and New Media histories.
There will be encounters with Italian and foreign artists and film-maker.

- M.M. Gazzano (a cura di) Edison Studio. Il "silent film" e l'elettronica in relazione intermediale, Exorma, Roma 2015;
- F. Zecca, Cinema e intermedialità. Modelli di traduzione, Forum, Udine 2013.

OPTIONALLY:
- V. Catricalà (ed.), Media Art. Towards a new Definition of Arts in the Ages of Technology, Gli Ori - Fondazione Mondo Digitale, Roma 2015;
- L. Leuzzi, S. Partridge, REWIND/Italia. Early Video Art in Italy / I primi anni della videoarte in Italia, John Libbey Publishing, New Barnet 2016 (Italian/English);
- M. M. Gazzano, Kinema. Il cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno (new edition), Exorma, Roma 2019.

Foreign Students can plan specific bibliographies with the Professor and the Tutors.

Narrative spaces: Travel

(a) a text group, by choice, among:
Goffredo Parise, Lontano, Milano, Adelphi, 2009 + Id., Guerre politiche, Milano, Adelphi, 2007 + Id., L’eleganza è frigida, Milano, Adelphi, 2008 or Giorgio Manganelli, Esperimento con l’India, Milano, Adelphi, 1992 + Id., La favola pitagorica, Milano, Adelphi, 2005 + Id., L’isola pianeta, Milano, Adelphi, 2006 or Gianni Celati, Narratori delle pianure, Milano, Feltrinelli, 2003 + Id., Verso la foce, Milano, Feltrinelli, 2002 + Id., Avventure in Africa, Milano, Feltrinelli, 2008

b) a critical text about the choosen author:
Goffredo Parise, edited by Marco Belpoliti and Andrea Cortellessa («Roga» 36), Milano, Marcos y Marcos, 2016 or Graziella Pulce, Giorgio Manganelli. Figure e sistema, Firenze, LeMonnier, 2004 or Gianni Celati, edited by Marco Belpoliti and Marco Sironi («Riga» 28), Milano, Marcos y Marcos, 2008

c) Luigi Marfè, Oltre la «fine dei viaggi». I resoconti dell’altrove nella letteratura contemporanea, Olschki 2009

d) to give a context in 20th and 21st century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, quarto volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

Filmografia: Gianni Celati, Strada Provinciale delle Anime (1991); Id., Case sparse. Visioni di case che crollano (2003: included in Id., Cinema all’aperto, Roma, Fandango, 2011); Id., Passar la vita a Diol Kadd (Milano, Feltrinelli, 2011)

WARNING: THE COURSE'S PROGRAM, ALONG WITH THE OTHER TEACHING MATERIALS, IS AVAILABLE AT THIS LINK:
https://www.dropbox.com/sh/3mu0ek5hmlfilr8/AABaBEow7wrjhNepajp5yrUTa?dl=0
THE COURSE WILL START ON 11.03.2020 IN AULA 10, V. OSTIENSE 139

This course is offered as part of the Master Research Degree Program in Cultural Leadership offered at the University of Groningen, The Netherlands. It is held at Roma Tre and can be attended by italian and Erasmus students as well. The two, final lessons will be run by Dr. Annie Van der Oefer (University of Groningen)

Content of the Course Unit

Media shape culture; the digital media are reshaping culture today. This module introduces a combination of perspectives on media objects and practices of use: historical, cognitive, sociological, ethnographic, esthetical, and curatorial. Media technologies are studied as tools for research (digital humanities), for education, and as curatorial tools used for presentation and mediation. The course is divided into three parts: 1) Media as systems of representation; 2) Media as cultural industry, 3) Media as technology. Each part is addressed first in theoretical terms and subsequently explored through selected cases studies and, occasionally, through the contribution of media practitioners.

Learning Outcomes
Upon successful completion of the course unit, students are able to:
- Use the main theoretical and methodological approaches in analyzing the relationship between media and culture, with particular reference to Sociology and Cultural Studies
- Understand the key role of media in “shaping culture” and in the process through which culture and its (both symbolic and material, tangible and non tangible) expressions are assigned meaning and (aesthetic, social, economic, etc.) value
- Understand how the role of media in “shaping culture” has changed with the diffusion of digital technologies/environments, user-generated contents, the shift from “broadcast cultures” to “participative cultures”
- Deconstruct media representations of culture and its expressions, and uncover the functioning of discourses on culture that are reproduced by the media
- Understand the role and functioning of media as a cultural/creative industry, whose products are forms of culture in their own right (notion of “cultural reflexivity”)
- Develop their own analysis of media texts
- Effectively use media technologies and languages in cultural sector-related professions: as tools for research (digital humanities), for education, and as curatorial tools

Calculation of student workload
The seminar comprises 6 EC = 125 hrs. Breakdown in different tasks for the course:

Attendance meetings: 30 hrs
Studying compulsory readings in preparation of meetings: 45 hrs
Group assignment: 15
Individual assignment: 35
Total: 125

* Students interested in taking this course are kindly requested to contact Dr. Giomi in order to access the folder containing teaching materials and readings (elisa.giomi@uniroma3.it).

Day to Day program and Readings

FIRST WEEK
Lesson 1 – Dr Giomi
Introduction

The first lesson aims to answer the following questions: 1) why study the Media in a Cultural Leadership Course?, and 2) how to study the Media in a Cultural Leadership Perspective? We will be exploring the role of media in society, their shaping and reshaping culture, and their being deeply embedded in the “texture” of our everyday life experience. Secondly, we will be describing the course approach, that consider the media as cultural industries, systems of representation and technologies. We will subsequently start to illustrate preliminary and basic notions about the Media, starting from their evolution from the early days of printing in the late Middle Ages to the present age of information communication technology and the information society.

Readings
• “The texture of experience”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 1-12.
• On the MAG episode, that will be discussed in class: https://www.newcriterion.com/blogs/dispatch/make-art-history-great-again
• “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 35-59. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)

SECOND WEEK
Lesson 2 – Dr Giomi
What are the media?

In this lesson, some of the main concepts and models involved in the study of the media will be addressed. Topic include; the “mass” concept, the “mass audience”; “mass” and “popular culture”; the shift from broadcasting and mass audience to new media and participatory culture.

Readings
• “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 61-89. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)
• “What is new about new media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 145-173 (compulsory for everyone and individual assignment n. 1: to be presented by one or two students; provided by Dr. Giomi)

Lesson 3 – Dr Giomi
Media and Culture

In this lesson, the relationship between media and culture is approached, grounding on the assumption that it is impossible now to distinguish between a sphere of culture and that of media. An overview is provided of the Culturalist perspective on mass media, that considers all the different aspects of media at once: their content (that is, media representations), the context of media production and reception, and all the surrounding practices (media as cultural industry and technologies). In order to highlight the contribution of the Culturalist perspective, we will start by comparing common sense definitions of “culture” - provided by contemporary popular media texts, such as TV talk shows and magazine articles – to the definitions elaborated by the main Culturalist theories: the Frankfurt School and critical cultural theory, British Cultural Studies and their redemption of the popular. Other topics include: commercialization of culture; communication technology and culture.

Readings
• Voices “Culture” and “Cultural Theory” in The Sage Dictionary in Cultural Studies, Sage, London (4 pages in total). (compulsory: to be read before lesson; provided by Dr. Giomi)
• “Mass Communication and culture” di McQuail, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 121-144. (compulsory for everyone and to be presented by one or two students; provided by Dr. Giomi)
• Stuart Hall, “Cultural Studies and the Center: some problematics and problems”, in Culture, Media, Language. Working Papers in Cultural Studies 1972-1979, Hutchinson, London, pp.15-47 (non compulsory, provided by Dr. Giomi)

THIRD WEEK
Lesson 4 and Lesson 5
Media as systems of representation: power, ideology, meaning

The first dimension of analysis of the media is addressed starting from the description of the mediation process, with specific focus on what is mediated (the meaning) and to the process by which meaning is given and taken (signification). The processes of meaning production are signifying practices and to understand culture is to explore how meaning is produced symbolically as forms of representation. This issue is approached through the theoretical tools elaborated by those Cultural Studies scholars who have focused on the questions of representation with an especial emphasis on the ways by which the world is socially constructed and represented to and by us. Issues that will be explored include: how representation is bound up with questions of power; the “politics of representation”; meaning and ideology: These issues and analytical categories will be applied to the analysis of a media product that had built up a cult following; the Twilight saga. Different and “competing” readings of this product and of its ideology will be compared in order to underline the “politics of representation” that is at work here.

Readings

• “Mediation”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 13-18. (non compulsory)
• Voice “Representation” in The Sage Dictionary in Cultural Studies, Sage, London (2 pages). (compulsory, provided by Dr. Giomi)
• “Introduction”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 1-8. (compulsory, provided by Dr. Giomi)
• “Meaning, representation and power”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 13-38. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Durham, M.G. [2012], Blood, lust and love, in «Journal of Children and Media», 6, 3, pp. 281-299. (compulsory and to be presented by one or two students, provided by Dr. Giomi)
• Franiuk, R., Scherr, S. [2013], The lion fell in love with the lamb, in «Feminist Media Studies», 13,1, pp. 14-28. (non compulsory)
To be watched before lesson n. 5: Twilight (film n. 1 of the saga)


FOURTH WEEK
Lesson 6 – Dr Giomi
Media as Cultural industry: the process of value production

In these lessons the processes of mediation and of meaning production will explored in relation to the economic, institutional and political forms of its organization. We will address how these forms have changed during the twentieth century, as well as issue of ownership and control of the cultural industries, and how these impact on meaning production. We will ground on the assumption that industry is central to controlling the circulation of meaning in society. Different types of cultural industry will therefore be explored, as well as how interactive technologies have changed the production of culture. The discourse then moves on to analyzing the relations between media (considered as both representations and as cultural industries) and “value”: media as actors contributing to the negotiation process through which culture and its (both symbolic and material) expressions are assigned meaning and (aesthetic, social, economic, etc.) values. The focal point is that there are principles of production of value laid out within the old media technologies that are still active and valid for the new media. The conceptualization of value in media (and other) production in terms of political economy (value in use or exchange) vs. other ways of understanding value, such as value as symbolic exchange; the relation of these two principles of value generation to each other as the key factor in understanding how value is created in both production and consumption. Issues that are explored include how value changes in changing media

Readings

• “The industrial production of meaning”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57. (compulsory, provided by Dr. Giomi)
• “Introduction”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory, provided by Dr. Giomi)
• “Media production and cultural industries”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016 (non compulsory)

FIFTH WEEK
Lesson 7 – Dr Giomi
Media production, value production: the case of “Nordic noir” and of European TV crime series

In this lesson, the dynamic and process of value production will be explored taking as a case study that of “Nordic Noir” and of European TV crime series. Nordic Noir, or Scandinoir, defines a form of Scandinavian crime fiction whose most popular TV expressions come from Sweden and Denmark (the TV series Wallander, 2005–2014; Forbrydelsen/The Killing, 2007–2012, and Broen/The Bridge, 2011–present). Nordic Noir has had a global influence in Europe (to the point that Netflix has created a specific category, “European Crime Drama”) as well as outside Europe, and has helped in reinventing a new breed of miniseries, one that is uniquely suited to the requirements of the new broadcasting age. Such influence can be felt at many levels (aesthetic, narrative, ideological, moral, etc.). We will take into exam the visual one, focusing on the role of landscape. Landscape has become a distinctive feature of Nordic Noir, part of its appeal, an “entertainment value” in its own, and a “trade-mark” of quality (a presence, that is, indicating high aesthetic and production standards). At the same time, Nordic Noir has played a key role in producing the (aesthetic and economic) value of Scandinavian countries (the “Sweden trade-mark”): the portrayal of their landscapes offered by TV representations and their peculiar atmosphere have contributed to the “typification” of Scandinavian countries in collective cultural imagery, making these countries popular over the world and boosting their tourism. The same has happened with the so-called “Celtic Noir” such as Broadchurch, 2013–present; Southcliffe, 2013, Gwyll/Hinterland, 2013, Shetland 2013-present (all shot in the UK), and, more in general, with procedural recently produced in other European countries, ranging from Iceland to Finland, Norway, Belgium, France, Italy, Germany, and the Netherlands. Examining the “landscape in Nordic Noir” case will serve the goal of laying down the theoretical and methodological background that will be used in the study of the Roman Aqueduct System case

Tv series (to be viewed at home)
First episode of Wallander, 2005–2014
or
Forbrydelsen/The Killing, 2007–2012
or
Broen/The Bridge, 2011–present
plus
Broadchurch, 2013
or
Gwyll/Hinterland, 2013
or
Shetland 2013-present
plus
Glacé /The Froezen Dead (2017)
(others will be indicated later)

Readings

• Creeber, G. [2015], Killing us softly: Investigating the aesthetics,philosophy and influence of Nordic Noir Television, in «Journal of Popular Television», 3, 1, pp. 21-35. (non compulsory, provided by Dr Giomi)
• Marit Waade, A., Melancholy in Nordic noir: Characters, landscapes, light and music, «Critical Studies in Television», First Published December 19, 2017 (compulsory; provided by Dr. Giomi )
• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, «New Review of Film and Television Studies», 2016, VOL . 14, NO. 3, 364–385 (compulsory and to be presented by one or two students; provided by Dr. Giomi)


SIXTH WEEK
Lesson 8 – Dr Giomi and Dr Addamiano
Inter-modules case study: the Roman Aqueduct System

In this lesson, that is common to the Media Module and to the Sustainability and Cultural Awareness Module, the Roman Aqueduct System case study is addressed by means of a multidisciplinary perspective. We will analyze the ‘narrative stratification’ the Aqueduct has undergone in and through its numerous representations diffused by diverse media over the last 50 years. The goal is to deconstruct the overlapping “layers of meaning” that media storytelling has been accumulating so far. Drawing on the theoretical and methodological base provided in the previous lesson (especially in the one about Noridc Noir), we will focus on the role of landscape in media representations and value production. Research questions are: 1) how have the Aqueduct, its relation to the territory and its inhabitants, and to Italian society at large, been framed and represented by movies, documentaries, TV series, digital narratives produced in different historical moments? 2) How have these narratives/discursive constructions contributed to produce the (varying) value(s) of the Aqueduct and of its territory and landscape in different historical moments?
Films that will be screened and analysed during the lesson are:
- Mamma Roma (P. Pasolini, 1962 - English version available)
- The Great Beauty (P. Sorrentino, 2013 - English version available)
- Fortunata (S. Castellito, 2017 - English version not available: a montage will be shown and illustrated)
In each of them, the Aqueduct is a heritage element that connotes the territory, the environment, its social tissue in completely different ways.


SEVENTH WEEK
Lesson 9 and Lesson 10 – Prof Dr Van den Oever, University of Groningen
(New) Media Technologies and Value Creation: Museums & Media Curating

Central to this last part of the course is the question of (new) media technologies and value creation. All the processes associated with the double role of media as systems of representation and media as a cultural industry in its own right, have become increasingly intense and have been reconfigured by the diffusion of digital technologies/environments, user-generated contents, and the shift from “broadcast cultures” to “participative cultures”.
This last week, we will explore the question of media from the perspective of a study of media as technologies which tend to have a specific material and sensorial makeup, and a specific impact on representation, audience experience, and practices of use. Media will be considered in their role as new media technologies which first have an impact (individually, culturally) and create novelty experiences; and next become part of a practice of media use in which they eventually may become old and obsolete (e.g., the typewrite) and are to be replaced by new devices (e.g., the pc, the tablet, the smartphone).
In order to highlight how media as specific information, communication, and visualization technologies impact on production and consumption processes, and on the entire “value production chain”, we will address the question: which specific role do media technologies play in the production of aesthetic, political, economic, and cultural value?
The examples to focus on will be related to media use in museums and big heritage institutions.

Readings

o Silverstone, R. [1988] “Museums and the media: A theoretical and methodological exploration.” In: The International Journal of Museum Management and Curatorship. pp. 231-241. Available online.
o Peters, Benjamin. [2009] “And lead us not into thinking the new is new: a bibliographic case for new media history.” Available online.
o Fossati, Giovanna. [2009] “Framing Film (in Transition): an Introduction.” In From Grain to Pixel. The Archival Life of Film in Transition. pp. 13-32. Digital file attached.
o Odin, Roger. [2016] “Cinema in My Pocket.” In: Exposing the Film Apparatus. The Film Archive as a Research Lab. Giovanna Fossati and Annie van den Oever, eds., pp. 45-53. Digital file attached.
o Kittler, Friedrich. [1996] “The History of Communication Media.” Published online in ctheory http://www.ctheory.net/articles.aspx?id=45 Available online.
o (For optional reading) Fossati, Giovanna, and Annie van den Oever. [2016] “Introduction”. In Exposing the Film Apparatus. The Film Archive as a Research Lab. pp. 13-37. Digital file attached.

COMPULSORY READINGS
• “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 35-59.
• “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 61-89. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)
• “What is new about new media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 145-173 (compulsory for everyone and individual assignment n. 1: to be presented by one or two students; provided by Dr. Giomi)
• Voices “Culture” and “Cultural Theory” in The Sage Dictionary in Cultural Studies, Sage, London (4 pages in total). (compulsory: to be read before lesson; provided by Dr. Giomi)
• “Mass Communication and culture” di McQuail, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 121-144. (compulsory for everyone and to be presented by one or two students; provided by Dr. Giomi)
• Voice “Representation” in The Sage Dictionary in Cultural Studies, Sage, London (2 pages). (compulsory, provided by Dr. Giomi)
• “Introduction”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 1-8. (compulsory, provided by Dr. Giomi)
• “Meaning, representation and power”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 13-38. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Durham, M.G. [2012], Blood, lust and love, in «Journal of Children and Media», 6, 3, pp. 281-299. (compulsory and to be presented by one or two students, provided by Dr. Giomi)
• "The industrial production of meaning”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57. (compulsory, provided by Dr. Giomi)
• “Introduction”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory, provided by Dr. Giomi)
• “Media production and cultural industries”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Marit Waade, A., Melancholy in Nordic noir: Characters, landscapes, light and music, «Critical Studies in Television», First Published December 19, 2017 (compulsory; provided by Dr. Giomi )
• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, «New Review of Film and Television Studies», 2016, VOL . 14, NO. 3, 364–385 (compulsory and to be presented by one or two students; provided by Dr. Giomi)
o Silverstone, R. [1988] “Museums and the media: A theoretical and methodological exploration.” In: The International Journal of Museum Management and Curatorship. pp. 231-241. Available online.
o Peters, Benjamin. [2009] “And lead us not into thinking the new is new: a bibliographic case for new media history.” Available online.
o Fossati, Giovanna. [2009] “Framing Film (in Transition): an Introduction.” In From Grain to Pixel. The Archival Life of Film in Transition. pp. 13-32. Digital file attached.
o Odin, Roger. [2016] “Cinema in My Pocket.” In: Exposing the Film Apparatus. The Film Archive as a Research Lab. Giovanna Fossati and Annie van den Oever, eds., pp. 45-53. Digital file attached.
o Kittler, Friedrich. [1996] “The History of Communication Media.” Published online in ctheory http://www.ctheory.net/articles.aspx?id=45 Available online.


OPTIONAL READINGS
• The texture of experience”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 1-12.
• On the MAG episode, that will be discussed in class: https://www.newcriterion.com/blogs/dispatch/make-art-history-great-again
• Stuart Hall, “Cultural Studies and the Center: some problematics and problems”, in Culture, Media, Language. Working Papers in Cultural Studies 1972-1979, Hutchinson, London, pp.15-47 (non compulsory, provided by Dr. Giomi)
• “Mediation”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 13-18. (non compulsory)
• Franiuk, R., Scherr, S. [2013], The lion fell in love with the lamb, in «Feminist Media Studies», 13,1, pp. 14-28. (non compulsory)
• “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016 (non compulsory)
• Creeber, G. [2015], Killing us softly: Investigating the aesthetics,philosophy and influence of Nordic Noir Television, in «Journal of Popular Television», 3, 1, pp. 21-35. (non compulsory, provided by Dr Giomi)
• (For optional reading) Fossati, Giovanna, and Annie van den Oever. [2016] “Introduction”. In Exposing the Film Apparatus. The Film Archive as a Research Lab. pp. 13-37. Digital file attached.

The course is divided in two.
The first part is a general introduction to the basic concepts of public communication. The topics included are: Forms and Devices of Public Communication, Features of the Public Space in Global Communication Networks, and the Development of Public Opinion.
The second part of the course explores the relationship between public communication and the media. The media will be approached as a space for negotiation between civil society and its institutions. Students can take part in an exercise focused on case studies on how old and new media platforms contribute to the narratives of public and political phenomena.

M. Castells (2017), Comunicazione e potere. UBE Paperback, Milano 2017 (nuova edizione) (Capitoli: Le reti digitali e la cultura dell’autonomia; Il potere nella società in rete; La comunicazione nell'età digitale; Intervenire sulle reti di comunicazione: politica mediatica, politica dello scandalo e crisi della democrazia; Riprogrammare le reti di comunicazione: movimenti sociali, politica insorgente e nuovo spazio pubblico).