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.
The third part will address the relationship between theatre and civil society, with a special focus on the case of theatre in prisons.

1) Anna Lisa Tota (2002), Sociologie dell’arte. Dal museo tradizionale all’arte multimediale, Carocci, Roma.
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (a cura di) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

Movement, Expression, Rhythm.
The course will treat some definitions and experiences of the expressive movement, of his formal, dynamic and symbolic values, in practices and reflections on the physical action during the first decades of the twentieth century, searching in a field shared by theatre, dance, gymnastics, visual cultures and anthropology.

Foreign students can study the texts by Eisenstein, Mauss and Warburg in their native languages versions or translations.

The development of the concept of Aesthetics from Renaissance to the modern world

P. Marolda, Il sensibile e l'astratto, Roma, La Goliardica, 1996
M. Modica, Che cos'è l'estetica, Roma, Editori Riuniti, 1987

(L-ART/05) 6 credits - Professor: Mirella Schino
PROGRAMME: Theatres under Fascism
The course aims to investigate the profound changes in Italian theatre during the years of Fascism through a theoretical and practical course starting with the magazine "Comoedia". The magazine will be examined, contextualized and filed by the students with the teacher.

Examination programme 2018-19, 6 CFU:
1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus
2) Dossier Teatri nel fascismo, Teatro e Storia n. 38 (pp. 59-384)
3) Dossier L’anticipo italiano (Teatro e storia n. 29, pp. 27-256, può essere letto gratuitamente on-line dal sito di Teatro e Storia, http://www.teatroestoria.it/volumi.php)

Examination programme 2018-19, 12 CFU
1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus
2) Dossier Teatri nel fascismo, Teatro e Storia n. 38 (pp. 59-384)
3) Dossier L'anticipo italiano (Teatro e storia n. 29, pp. 27-256, can be read for free online from the website of Teatro e Storia, http://www.teatroestoria.it/volumi.php)
4) Emanuela Scarpellini, Organizzazione teatrale e politica del teatro nell’età fascista (downloadable free of charge)http://www.studiumanistici.unimi.it/files/_ITA_/Filarete/131.pdf)
5) Mirella Schino, La nascita della regia teatrale (laterza)

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 presents different aspects of historical research methodology, meant both as a set of operational tools and techniques, and as an historical theory. The concept of the Global History will be examined.
The first part of the course (12 hours) introduces the main elements of the history of historiography starting from the birth of the discipline during the nineteenth century. The second part of the course (12 hours) addresses the theoretical and methodological aspects of the use of historical sources with particular attention to "new sources" and dynamic use. The third and final part of the course (12 hours) focuses on the monographic theme of Global History.

G. De Luna, La Passione e la ragione. Il mestiere dello storico contemporaneo, Milano, Bruno Mondadori, 2004 (pp. 259, € 20,00)

A book to be chosen from:
- E. Vanhaute, Introduzione alla World History, Bologna, il Mulino, 2015 (pp. 272, € 25,00)
- S. Conrad, Storia globale. Un’introduzione, Roma, Carocci, 2015 (pp. 212, € 19,00)

Reading it is suggested:
- S. Gruzinski, Abbiamo ancora bisogno della storia? Il senso del passato nel mondo globalizzato, Milano, Raffaello Cortina, 2016 (pp. 166, € 18,00)

Movement, Expression, Rhythm.
The course will treat some definitions and experiences of the expressive movement, of his formal, dynamic and symbolic values, in practices and reflections on the physical action during the first decades of the twentieth century, searching in a field shared by theatre, dance, gymnastics, visual cultures and anthropology.

Foreign students can study the texts by Eisenstein, Mauss and Warburg in their native languages versions or translations.

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 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.

– E.Novelli, Le campagne elettorali in italia, Roma-Bari, Laterza 2018.

-E. Novelli, La Turbopolitica, Bur Rizzoli, Milano 206.

During the course will be monitored the electoral campaign for the European elections 2019. This activity will take place within the international research project Platform Europe funded by the European Parliament. The participation at the monitoring will exempt the students from the volume La Turbopolitica.

The following audiovisual materials supplement the course and students are suggested to view
– “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

The development of the concept of Aesthetics from Renaissance to the modern world

P. Marolda, Il sensibile e l'astratto, Roma, La Goliardica, 1996
M. Modica, Che cos'è l'estetica, Roma, Editori Riuniti, 1987

(L-ART/05) 6 credits - Professor: Mirella Schino
PROGRAMME: Theatres under Fascism
The course aims to investigate the profound changes in Italian theatre during the years of Fascism through a theoretical and practical course starting with the magazine "Comoedia". The magazine will be examined, contextualized and filed by the students with the teacher.

Examination programme 2018-19, 6 CFU:
1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus
2) Dossier Teatri nel fascismo, Teatro e Storia n. 38 (pp. 59-384)
3) Dossier L’anticipo italiano (Teatro e storia n. 29, pp. 27-256, può essere letto gratuitamente on-line dal sito di Teatro e Storia, http://www.teatroestoria.it/volumi.php)

Examination programme 2018-19, 12 CFU
1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus
2) Dossier Teatri nel fascismo, Teatro e Storia n. 38 (pp. 59-384)
3) Dossier L'anticipo italiano (Teatro e storia n. 29, pp. 27-256, can be read for free online from the website of Teatro e Storia, http://www.teatroestoria.it/volumi.php)
4) Emanuela Scarpellini, Organizzazione teatrale e politica del teatro nell’età fascista (downloadable free of charge)http://www.studiumanistici.unimi.it/files/_ITA_/Filarete/131.pdf)
5) Mirella Schino, La nascita della regia teatrale (laterza)

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 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.

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).

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;
- M.M. Gazzano (a cura di) Visione molteplice. L'Opera Audiovisiva di Hermes Intermedia, Armando, Roma 2019.

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 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.

– E.Novelli, Le campagne elettorali in italia, Roma-Bari, Laterza 2018.

-E. Novelli, La Turbopolitica, Bur Rizzoli, Milano 206.

During the course will be monitored the electoral campaign for the European elections 2019. This activity will take place within the international research project Platform Europe funded by the European Parliament. The participation at the monitoring will exempt the students from the volume La Turbopolitica.

The following audiovisual materials supplement the course and students are suggested to view
– “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

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, specially, 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.

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 www.filcospe.it (personal webpage).

Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the projection and analysis of films made out of the plays of Viviani ("La tavola dei poveri", directed by A. Blasetti, 1932, and "I dieci comandamenti", directed by M. Martone, 2000) and of unpublished documentary clips.

ATTENDING STUDENTS
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV);
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Materials by the teacher available at the copy shop in via Giulio Rocco n. 11;
4) film: "La tavola dei poveri", directed by A. Blasetti;
4) film: "I dieci comandamenti", directed by M. Martone;
[copies of the films in the program is available to students at the library of Dams, , via Ostiense 139, piano -1].

NON ATTENDING STUDENTS
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) F. Angelini, "Teatro e spettacolo nel primo Novecento", Bari-Roma, Laterza, 2009
4) film: "La tavola dei poveri", directed by A. Blasetti
5) film: "I dieci comandamenti", directed by M. Martone
[copies of the films in the program is available to students at the library of Dams, , via Ostiense 139, piano -1].

The course analyzes some experiences on the border between theater and dance, and between East and West. The European scene that finds the link between body and word is observed here from the point of view of Japanese performative avant-gardes.
Subjects: Butō and the legacy of French literature and German dance, theatrical anthropology and the identification of the actor's / dancer's art principles in different cultures, action and expression in the mid-twentieth century dance, the word and the movement in Pina Bausch Tanztheater.

Eugenio Barba, Nicola Savarese, L’arte segreta dell’attore, edizioni di pagina, Bari 2011 (acquistabile anche in formato pdf sul sito della casa editrice)
Matteo Casari, Elena Cervellati (a cura di), Butō. Prospettive europee e sguardi dal Giappone, Bologna, Dipartimento delle Arti e ALMADL, 2015, limitatamente ai saggi IV, V, VI, VII, IX, XI (il volume è scaricabile al link http://amsacta.unibo.it/4352/ )
- Film Pina, regia di Wim Wenders, 2011
- Dispense a cura della docente (disponibili sul sito del corso www.teorieepratichedelladanza.it )

PER I NON FREQUENTANTI: I non frequentanti dovranno aggiungere al programma indicato il testo di Eugenia Casini Ropa, La danza e l'agitprop. I teatri non-teatrali nella cultura tedesca del primo Novecento, Imola, Cue Press, 2015

The course investigates the film analysis through two Master of Hollywood cinema, Frank Capra and Francis Ford Coppola, who will be investigated in their authorial strategies and the historical context of their cinema. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

Dispensa su Francis Coppola (in corso di pubblicazione)

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 course will consist mainly in “hands on” activities, with reading assignments aimed at accompanying and facilitating the analysis of real materials. For their oral examination, non-attending students may choose one of the following alternatives:

Choice 1:

a. Rumiati R. e Lotto L. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2012.
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 (For those who have already studied the first part of the book, only chapters from 13 to the end).
d. Three (3) papers from this link:
http://www.comunicazione.uniroma3.it/it/page/25/_/___22

Choice 2:

a. Poggi I. Mind, hands, face and body. A goal and belief view of multimodal communication. Jo Weidler, Berlin 2007 (except for chapters:
8, 9, 10, 12, 16, 20, 23, 26, 32, 38).
b. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012 (For those who already studied the first part of the book, only chapters from 13 to the end).
c. Three (3) papers from this link http://www.comunicazione.uniroma3.it/it/page/25/_/___22

The course reflects on the methodologies and strategies to be employed in the teaching of film and media. We will tackle the importance of an education to images through the development of 4 thematic-theoretical units:
1) the first unit will deal with film and media education as support to the learning process of other subjects: history, geography, literature, language.
2) media education will then be considered in its autonomy; the pedagogical advantages in audiovisual literacy will be discussed in connection with the dynamics of production of meaning, as ways of shaping the imagination, and as a dimension of creativity. The theoretical background for such discourses will come from the tradition of both psychoanalysis and film and media studies themselves. In particular, we will reflect on teaching in relation to the concept of cinephilia, understood here as a mode of spectatorship amenable to historical and theoretical reflection.
3) An essential part of the course will consequently consist of a metacritical reflection on the cinematographic canon, and on the implicit theoretical stands detectable in current manuals on film history and language.
4) Last but not least, we will analyze four films that reflect on the teacher-pupil relationship, spanning from the 1950s to today, and that can be used to examine teaching dynamics and techniques, their evolution through time, their potentialities and the way they were narrativized.

Gianni Rondolino, Dario Tomasi, "Manuale del film. Linguaggio, racconto, analisi";
Collection of essays selected by the teacher.
Mandatory filmography.

The intertwining between individual and collective life. The action of individuals and their symbolic importance. The use of procedural interpretation in order to read the complexity of everyday life. The limits of globalization.

The texts for not-attending students:

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, trad. it. di Luigi Giacone, Torino, Einaudi, 2018.

2. The monographic part includes:
Stefano de Matteis, La false libertà. Verso la post globalizzazione, Milano, Meltemi, 2017.

The course deals with the theory and the analysis of musical performance, both in terms of a specifically musicological approach (vocal and instrumental performance practices from the Baroque to the twentieth century), and on that of cultural history. In particular, it will be examined the figure of Maria Callas, also in the relations with the social context and with other arts (literature, theater, cinema, art, media).

- Selected essays which will be communicated at the beginning of the lessons
- "Mille e una Callas. Voci e studi", a cura di Luca Aversano e Jacopo Pellegrini, II ed., Quodlibet, Macerata 2017.


Additional materials for student non attending the lessons:
Book of free choice among:
Enrico Careri, Studi su esecuzione e interpretazione. Vivaldi, Schubert, E.A. Mario, Lim, Lucca 2014; Arturo Toscanini: il direttore e l'artista mediatico, a cura di Marco Capra e Ivano Cavallini, Lim, Lucca 2011; Davide Bertotti, Il direttore d'orchestra da Wagner a Furtwängler : l'illustre aberrazione, L’epos, Palermo 2005; Hans-Heinrich Unger, Musica e retorica fra XVI e XVIII secolo, a cura di Elisabetta Zoni, Alinea Editrice, Firenze 2003; Ivano Cavallini, Il direttore d’orchestra. Genesi e storia di un’arte, Marsilio, Venezia 1998; Piero Rattalino, Storia del pianoforte, Il Saggiatore, Milano 2008; Bernard Sherman, Interviste sulla musica antica. Dal canto gregoriano a Monteverdi, Edt, Torino 2002.

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, specially, 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.

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 www.filcospe.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.

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).

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. Torwards 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.

Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the projection and analysis of films made out of the plays of Viviani ("La tavola dei poveri", directed by A. Blasetti, 1932, and "I dieci comandamenti", directed by M. Martone, 2000) and of unpublished documentary clips.

ATTENDING STUDENTS
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV);
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Materials by the teacher available at the copy shop in via Giulio Rocco n. 11;
4) film: "La tavola dei poveri", directed by A. Blasetti;
4) film: "I dieci comandamenti", directed by M. Martone;
[copies of the films in the program is available to students at the library of Dams, , via Ostiense 139, piano -1].

NON ATTENDING STUDENTS
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) F. Angelini, "Teatro e spettacolo nel primo Novecento", Bari-Roma, Laterza, 2009
4) film: "La tavola dei poveri", directed by A. Blasetti
5) film: "I dieci comandamenti", directed by M. Martone
[copies of the films in the program is available to students at the library of Dams, , via Ostiense 139, piano -1].

The course investigates the film analysis through two Master of Hollywood cinema, Frank Capra and Francis Ford Coppola, who will be investigated in their authorial strategies and the historical context of their cinema. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

Vito Zagarrio The Un-Happy Ending. Re-viewing the cinema of Frank Capra, New York, Bordighera Press, 2011.

Dispensa su Francis Coppola (in corso di pubblicazione)

Italian literature and photography

a) Silvia Albertazzi, Letteratura e fotografia, Roma, Carocci, 2017

b) Fototesti. Letteratura e cultura visuale, a cura di Michele Cometa e Roberta Coglitore, Macerata, Quodlibet, 2016

c) plus one author, by choice, among:

Elio Vittorini, Conversazione in Sicilia [1941], illustrated by the authore, edited by Maria Rizzarelli, Milano, Rizzoli, 2007

Gianni Celati, Il chiodo in testa [1974] e La bottega dei mimi [1977], in Id., Animazioni e incantamenti, a cura di Nunzia Palmieri, Roma, L’orma, 2017 + Verso la foce [1984], Milano, Feltrinelli, 2011

Pier Paolo Pasolini, La Divina Mimesis [1975], Milano, Mondadori, 2006

Nanni Balestrini, Blackout [1980], in Id., Poesie complete volume secondo, Roma, DeriveApprodi, 2016

Lalla Romano, Nuovo romanzo di figure [1986], Torino, Einaudi, 1997

d) plus one author, by choice, among:

Tommaso Pincio, Lo spazio sfinito [2000], Roma, minimum fax, 2010

Sara Ventroni, Nel Gasometro, Firenze, Le Lettere, 2006 + Ead., La sommersione, Torino, Aragno, 2016

Walter Siti, Autopsia dell’ossessione, Milano, Mondadori, 2010

Antonella Anedda, La vita dei dettagli, Roma, Donzelli, 2009

Giorgio Falco e Sabrina Ragucci, Condominio Oltremare, Roma, L’orma, 2014

Giorgio Agamben, Autoritratto nello studio, Roma, nottetempo, 2017

Michele Mari, Leggenda privata, Torino, Einaudi, 2017

e) to give a context in the 20th and 21st century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, vol. IV: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012; and/or La terra della prosa. Narratori italiani degli anni zero (1999-2014), edited by Andrea Cortellessa, Roma, L’orma, 2014

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: 30 hrs
Group assignment: 10
Individual assignment 1: 20
Individual assignment 2: 35
Total: 125

Assessment

Final evaluation ranges between the score of 18 out of 30 points and 30 out of 30 points. Students will be graded based upon three assignments:

1. Group assignment (score ranges between 0 and 4 points
2. Individual assignment n. 1 (score ranges between 0 and 14 points)
3. Individual assignment n. 2 (score ranges between 0 and 12 points)

Group assignement
In every meeting, a small group (2-3 persons, depending on the total number of students) presents one of the compulsory readings attributed for that meeting. Students are expected to effectively expose the content of the readings and to give their personal contribution. This can consists of an analysis of one of the aspects/topics/analytical categories addressed by the reading(s) and/or of a set of research questions, solicited by the readings, that students formulate on their own. At the beginnin of the course, students wil be asked to express their preferences for the date and content of their presentation.

Individual assignment n. 1
The first individual assignment consists of a written exam on the contents of compulsory readings, that students are expect to study throughout the entire Course, in preparation of each meeting (30 hrs of esitmated workload), and to review in preparation of the exam (20 hrs of estimated workload). This exam will take place within the second half of june.

Individual assignment n. 2
The second individual assignment consists of a short research paper (4-5 pages) on the topic of landscape and/in media representation. Deadline for paper sumbitting is the end of June. Further details (methodology, overall organisation, etc.) will be provided as the course begins.

* 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). Lessons will take place in Aula 13A, at Dipartimento di Studi Aziendali, V. Silvio D'Amico 77

Day to Day program and Readings

FIRST WEEK
Lesson 1 – Dr Giomi
27.4.2018
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
2.05.2018 - 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
4.05.2017 - 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
9.05.2018 and 11.05.2018 - 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
18.05.2018 - 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
25.5.2018 - 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
25.05.2018 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
30.05.2018 and 31.05.2018 - (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 institutions. Students can take part in workshop exercises focused on case studies on how old and new media platforms contribute to the narratives of public 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; 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).

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

Listen to Politics through songs and an era through music: the late twentieth century.

1 Ferrari, Chiara, Politica e protesta in musica: da Cantacronache a Ivano Fossati, Unicopli, Milano 2014
2 Santoro, Lorenzo, Musica e politica nell'Italia unita: dall'illuminismo alla repubblica dei partiti, Marsilio, Venezia 2013

3 A text of your choice between:
Scatozza, Stefano, Come si scrive una canzone: lezioni di composizione Pop, Roma, Arcana 2016
Alfredo Rapetti Mogol (Cheope) - Giuseppe Anastasi, Scrivere una canzone, Bologna, Zanichelli 2012

4 A text of your choice (two for those who do not follow the course) between:
Ciabattoni, Francesco, La citazione è sintomo d'amore : cantautori italiani e memoria letteraria, Carocci, Roma 2016
Franzinelli, Mimmo, Rock & servizi segreti: musicisti sotto tiro, da Pete Seeger a Jimi Hendrix a Fabrizio De André, Bollati Boringhieri, Torino 2010
Santoro, Lorenzo, Musica e politica nell'Italia unita: dall'illuminismo alla repubblica dei partiti, Marsilio, Venezia 2013

The course deals with the theory and the analysis of musical performance, both in terms of a specifically musicological approach (vocal and instrumental performance practices from the Baroque to the twentieth century), and on that of cultural history. In particular, it will be examined the figure of Maria Callas, also in the relations with the social context and with other arts (literature, theater, cinema, art, media).

- Selected essays which will be communicated at the beginning of the lessons
- "Mille e una Callas. Voci e studi", a cura di Luca Aversano e Jacopo Pellegrini, II ed., Quodlibet, Macerata 2017.


Additional materials for student non attending the lessons:
Book of free choice among:
Enrico Careri, Studi su esecuzione e interpretazione. Vivaldi, Schubert, E.A. Mario, Lim, Lucca 2014; Arturo Toscanini: il direttore e l'artista mediatico, a cura di Marco Capra e Ivano Cavallini, Lim, Lucca 2011; Davide Bertotti, Il direttore d'orchestra da Wagner a Furtwängler : l'illustre aberrazione, L’epos, Palermo 2005; Hans-Heinrich Unger, Musica e retorica fra XVI e XVIII secolo, a cura di Elisabetta Zoni, Alinea Editrice, Firenze 2003; Ivano Cavallini, Il direttore d’orchestra. Genesi e storia di un’arte, Marsilio, Venezia 1998; Piero Rattalino, Storia del pianoforte, Il Saggiatore, Milano 2008; Bernard Sherman, Interviste sulla musica antica. Dal canto gregoriano a Monteverdi, Edt, Torino 2002.

Academic year 2018-2019
Documentary cinema workshop
By Gianfranco pannone

The human face as landscape (a practical-theoretical path between past and present)
The human face can be found in all documentary cinematography, from Nanook the Eskimo, the pioneering movie by Roberr Flaherty, to this day.
Therefore, the workshop proposes itself at first as a short historical overview through some documentaries where man is at the core of the narration, from Flaherty, as mentioned before, to contemporary authors like Errol Morris, Nicholas Philbert and Michael Glawwoger, Pietro Marcello, passing through Frederick Wiseman and the Maysles brothers, not only through verbal witness, but above all by examining the vision of faces within a landscape, examined both on an anthropological side and a poetic-narrative one.
The workshop is going to have a practical outlet through the realization of 5-6 visual exercises, realized in some neighborhoods of Rome, in work groups.
During the passage from theory to practice some problems regarding the “cinema of the real” will be taken into account:
-what does it mean to approach to a face? And to what point one can get to explore it by respecting a person? The border between urgency and legality.
-the relationship with “the other” before and during the making of a documentary
-the difficult border between real and fiction. Where and when the hand of the filmmaker intervenes? To document or to docu-lie?

Recommended books
-l’officina del reale, by Mario balsamo and Gianfranco pannone (Cdg edition)
-un paese, by strand/zavattini (alinari)
-propizio è avere dove recarsi, by emmanuel carrère (Adelphi)
-l’altro, by ryszard kapuscinski (Feltrinelli)

Note
- not more than three justified absences are allowed
-the choice of the people admitted to the workshop will be taken according to the acquired credits (not less than 30 cfu)
-it’s expected a maximum admission of 30 students to the workshop.

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

The course reflects on the methodologies and strategies to be employed in the teaching of film and media. We will tackle the importance of an education to images through the development of 4 thematic-theoretical units:
1) the first unit will deal with film and media education as support to the learning process of other subjects: history, geography, literature, language.
2) media education will then be considered in its autonomy; the pedagogical advantages in audiovisual literacy will be discussed in connection with the dynamics of production of meaning, as ways of shaping the imagination, and as a dimension of creativity. The theoretical background for such discourses will come from the tradition of both psychoanalysis and film and media studies themselves. In particular, we will reflect on teaching in relation to the concept of cinephilia, understood here as a mode of spectatorship amenable to historical and theoretical reflection.
3) An essential part of the course will consequently consist of a metacritical reflection on the cinematographic canon, and on the implicit theoretical stands detectable in current manuals on film history and language.
4) Last but not least, we will analyze four films that reflect on the teacher-pupil relationship, spanning from the 1950s to today, and that can be used to examine teaching dynamics and techniques, their evolution through time, their potentialities and the way they were narrativized.

Gianni Rondolino, Dario Tomasi, "Manuale del film. Linguaggio, racconto, analisi";
Collection of essays selected by the teacher.
Mandatory filmography.

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.

Reading Shakespeare. Questioning the materiality of texts and their dramatic composition, the course aims to analyze shakespearean plays as documents of the modern european theatre culture.

R. Guarino, Shakespeare: la scrittura nel teatro, Carocci.
W. Shakespeare, Amleto, a c. di A. Serpieri, Marsilio.
W. Shakespeare, Riccardo III, a c. di V. Gabrieli, Garzanti.
W. Shakespeare, Sogno di una notte di mezza estate, a c. di A. Lombardo e N. Fusini.
S. Greenblatt, Amleto in Purgatorio, Carocci.
L. Maguire e E. Smith, 30 grandi miti su Shakespeare, 0 barra 0.
Eventuali programmi o testi alternativi individuali vanno concordati con il docente.

(L-ART/05) 6 credits - Professor: Mirella Schino
PROGRAMME: Theatres under Fascism
The course aims to investigate the profound changes in Italian theatre during the years of Fascism through a theoretical and practical course starting with the magazine "Comoedia". The magazine will be examined, contextualized and filed by the students with the teacher.

Examination programme 2018-19, 6 CFU:
1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus
2) Dossier Teatri nel fascismo, Teatro e Storia n. 38 (pp. 59-384)
3) Dossier L’anticipo italiano (Teatro e storia n. 29, pp. 27-256, può essere letto gratuitamente on-line dal sito di Teatro e Storia, http://www.teatroestoria.it/volumi.php)

Examination programme 2018-19, 12 CFU
1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus
2) Dossier Teatri nel fascismo, Teatro e Storia n. 38 (pp. 59-384)
3) Dossier L'anticipo italiano (Teatro e storia n. 29, pp. 27-256, can be read for free online from the website of Teatro e Storia, http://www.teatroestoria.it/volumi.php)
4) Emanuela Scarpellini, Organizzazione teatrale e politica del teatro nell’età fascista (downloadable free of charge)http://www.studiumanistici.unimi.it/files/_ITA_/Filarete/131.pdf)
5) Mirella Schino, La nascita della regia teatrale (laterza)

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

The course reflects on the methodologies and strategies to be employed in the teaching of film and media. We will tackle the importance of an education to images through the development of 4 thematic-theoretical units:
1) the first unit will deal with film and media education as support to the learning process of other subjects: history, geography, literature, language.
2) media education will then be considered in its autonomy; the pedagogical advantages in audiovisual literacy will be discussed in connection with the dynamics of production of meaning, as ways of shaping the imagination, and as a dimension of creativity. The theoretical background for such discourses will come from the tradition of both psychoanalysis and film and media studies themselves. In particular, we will reflect on teaching in relation to the concept of cinephilia, understood here as a mode of spectatorship amenable to historical and theoretical reflection.
3) An essential part of the course will consequently consist of a metacritical reflection on the cinematographic canon, and on the implicit theoretical stands detectable in current manuals on film history and language.
4) Last but not least, we will analyze four films that reflect on the teacher-pupil relationship, spanning from the 1950s to today, and that can be used to examine teaching dynamics and techniques, their evolution through time, their potentialities and the way they were narrativized.

Gianni Rondolino, Dario Tomasi, "Manuale del film. Linguaggio, racconto, analisi";
Collection of essays selected by the teacher.
Mandatory filmography.

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, specially, 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.

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 www.filcospe.it (personal webpage).

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

The course reflects on the methodologies and strategies to be employed in the teaching of film and media. We will tackle the importance of an education to images through the development of 4 thematic-theoretical units:
1) the first unit will deal with film and media education as support to the learning process of other subjects: history, geography, literature, language.
2) media education will then be considered in its autonomy; the pedagogical advantages in audiovisual literacy will be discussed in connection with the dynamics of production of meaning, as ways of shaping the imagination, and as a dimension of creativity. The theoretical background for such discourses will come from the tradition of both psychoanalysis and film and media studies themselves. In particular, we will reflect on teaching in relation to the concept of cinephilia, understood here as a mode of spectatorship amenable to historical and theoretical reflection.
3) An essential part of the course will consequently consist of a metacritical reflection on the cinematographic canon, and on the implicit theoretical stands detectable in current manuals on film history and language.
4) Last but not least, we will analyze four films that reflect on the teacher-pupil relationship, spanning from the 1950s to today, and that can be used to examine teaching dynamics and techniques, their evolution through time, their potentialities and the way they were narrativized.

Gianni Rondolino, Dario Tomasi, "Manuale del film. Linguaggio, racconto, analisi";
Collection of essays selected by the teacher.
Mandatory filmography.

The intertwining between individual and collective life. The action of individuals and their symbolic importance. The use of procedural interpretation in order to read the complexity of everyday life. The limits of globalization.

The texts for not-attending students:

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, trad. it. di Luigi Giacone, Torino, Einaudi, 2018.

2. The monographic part includes:
Stefano de Matteis, La false libertà. Verso la post globalizzazione, Milano, Meltemi, 2017.

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 course will consist mainly in “hands on” activities, with reading assignments aimed at accompanying and facilitating the analysis of real materials. For their oral examination, non-attending students may choose one of the following alternatives:

Choice 1:

a. Rumiati R. e Lotto L. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2012.
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 (For those who have already studied the first part of the book, only chapters from 13 to the end).
d. Three (3) papers from this link:
http://www.comunicazione.uniroma3.it/it/page/25/_/___22

Choice 2:

a. Poggi I. Mind, hands, face and body. A goal and belief view of multimodal communication. Jo Weidler, Berlin 2007 (except for chapters:
8, 9, 10, 12, 16, 20, 23, 26, 32, 38).
b. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012 (For those who already studied the first part of the book, only chapters from 13 to the end).
c. Three (3) papers from this link http://www.comunicazione.uniroma3.it/it/page/25/_/___22

The course analyzes some experiences on the border between theater and dance, and between East and West. The European scene that finds the link between body and word is observed here from the point of view of Japanese performative avant-gardes.
Subjects: Butō and the legacy of French literature and German dance, theatrical anthropology and the identification of the actor's / dancer's art principles in different cultures, action and expression in the mid-twentieth century dance, the word and the movement in Pina Bausch Tanztheater.

- Eugenio Barba, Nicola Savarese, L’arte segreta dell’attore, edizioni di pagina, Bari 2011
- Matteo Casari, Elena Cervellati (edited by), Butō. Prospettive europee e sguardi dal Giappone, Bologna, Dipartimento delle Arti e ALMADL, 2015, chapters IV, V, VI, VII, IX, XI (free download: http://amsacta.unibo.it/4352/ )
- Film Pina, regia di Wim Wenders, 2011
- Dispense (free download on the course website www.teorieepratichedelladanza.it )

Students who do not attend lessons will add Eugenia Casini Ropa, La danza e l'agitprop. I teatri non-teatrali nella cultura tedesca del primo Novecento, Imola, Cue Press, 2015

The course deals with the theory and the analysis of musical performance, both in terms of a specifically musicological approach (vocal and instrumental performance practices from the Baroque to the twentieth century), and on that of cultural history. In particular, it will be examined the figure of Maria Callas, also in the relations with the social context and with other arts (literature, theater, cinema, art, media).

- Selected essays which will be communicated at the beginning of the lessons
- "Mille e una Callas. Voci e studi", a cura di Luca Aversano e Jacopo Pellegrini, II ed., Quodlibet, Macerata 2017.


Additional materials for student non attending the lessons:
Book of free choice among:
Enrico Careri, Studi su esecuzione e interpretazione. Vivaldi, Schubert, E.A. Mario, Lim, Lucca 2014; Arturo Toscanini: il direttore e l'artista mediatico, a cura di Marco Capra e Ivano Cavallini, Lim, Lucca 2011; Davide Bertotti, Il direttore d'orchestra da Wagner a Furtwängler : l'illustre aberrazione, L’epos, Palermo 2005; Hans-Heinrich Unger, Musica e retorica fra XVI e XVIII secolo, a cura di Elisabetta Zoni, Alinea Editrice, Firenze 2003; Ivano Cavallini, Il direttore d’orchestra. Genesi e storia di un’arte, Marsilio, Venezia 1998; Piero Rattalino, Storia del pianoforte, Il Saggiatore, Milano 2008; Bernard Sherman, Interviste sulla musica antica. Dal canto gregoriano a Monteverdi, Edt, Torino 2002.

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: 30 hrs
Group assignment: 10
Individual assignment 1: 20
Individual assignment 2: 35
Total: 125

Assessment

Final evaluation ranges between the score of 18 out of 30 points and 30 out of 30 points. Students will be graded based upon three assignments:

1. Group assignment (score ranges between 0 and 4 points
2. Individual assignment n. 1 (score ranges between 0 and 14 points)
3. Individual assignment n. 2 (score ranges between 0 and 12 points)

Group assignement
In every meeting, a small group (2-3 persons, depending on the total number of students) presents one of the compulsory readings attributed for that meeting. Students are expected to effectively expose the content of the readings and to give their personal contribution. This can consists of an analysis of one of the aspects/topics/analytical categories addressed by the reading(s) and/or of a set of research questions, solicited by the readings, that students formulate on their own. At the beginnin of the course, students wil be asked to express their preferences for the date and content of their presentation.

Individual assignment n. 1
The first individual assignment consists of a written exam on the contents of compulsory readings, that students are expect to study throughout the entire Course, in preparation of each meeting (30 hrs of esitmated workload), and to review in preparation of the exam (20 hrs of estimated workload). This exam will take place within the second half of june.

Individual assignment n. 2
The second individual assignment consists of a short research paper (4-5 pages) on the topic of landscape and/in media representation. Deadline for paper sumbitting is the end of June. Further details (methodology, overall organisation, etc.) will be provided as the course begins.

* 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). Lessons will take place in Aula 13A, at Dipartimento di Studi Aziendali, V. Silvio D'Amico 77

Day to Day program and Readings

FIRST WEEK
Lesson 1 – Dr Giomi
27.4.2018
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
2.05.2018 - 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
4.05.2017 - 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
9.05.2018 and 11.05.2018 - 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
18.05.2018 - 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
25.5.2018 - 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
25.05.2018 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
30.05.2018 and 31.05.2018 - (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 institutions. Students can take part in workshop exercises focused on case studies on how old and new media platforms contribute to the narratives of public 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; 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).

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, specially, 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.

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 www.filcospe.it (personal webpage).