Università Roma Tre

The course addresses film narrative and stylistic forms, from classic Hollywood to contemporary cinema. Through the analysis of specific sequences and films, the course addresses classic cinema from the 1930s, the melodramatic style from the 1950s, film modernity (in particular Italian art film from the 1960s), postmodern cinema, postclassic films, mind-game films, "global films". The last part of the course is dedicated to complex and vast narratives, especially the narrative universe by David Lynch. The film analysis will be conducted through various methods and approaches; among then, structuralism and semiotics, formal analysis and style, psychoanalysis, feminist film theory. Cultural studies and approaches will be considered in order to address modernity, postmodernism, and contemporary mediascapes.
The final syllabus is online at https://ilariaadepascalis.wordpress.com/informazioni-generali/

Veronica Pravadelli, "Dal classico al postmoderno al global. Teoria e analisi delle forme filmiche", Marsilio, Venezia 2019 (forthcoming)

Essays:
 Raymond Bellour, “The Obvious and the Code”, in "The Analysis of Film" (eng. tr. 2000).
 Laura Mulvey, "Visual Pleasure and Narrative Cinema" and "Afterthoughts on 'Visual Pleasure and Narrative Cinema' Inspired by 'Duel in the Sun'", in Visual and Other Pleasures, 1989.
 Thomas Elsaesser, "Tales of Sound and Fury. Observations on the Family Melodrama", in "Home Is Where The Heart Is", ed. by Christine Gledhill, 1987.
 Christian Metz, “The Modern Cinema and Narrativity” in "Film Language" (eng. tr. 1974).
 Paolo Bertetto, “L’analisi interpretativa. Mulholland Drive”, in Metodologie di analisi del film, a cura di Id., Laterza, Roma-Bari 2006, pp. 223-255.
 Lorenzo Marmo, “Tornando a casa. Desiderio spettatoriale e dispersione narrativa in Twin Peaks: The Return di David Lynch”, in SigMa – Rivista di Letterature comparate, Teatro e Arti dello spettacolo, vol. 1, 2017, pp. 537-561, disponibile al link http://www.serena.unina.it/index.php/sigma/article/view/5525/6168.


Films:
 "Bringing Up Baby", Howard Hawks, 1938
 "Written on the Wind", Douglas Sirk, 1958
 "Prima della rivoluzione", "Before the Revolution", Bernardo Bertolucci, 1964
 "Je, tu, il, elle", Chantal Akerman, 1974
 "Die Hard", John McTiernan, 1988
 "Mulholland Drive", David Lynch, 2001
 "Twin Peaks", David Lynch e Mark Frost, ABC, 1990-1991 | Showtime, 2017
 "Babel", Alejandro González Iñárritu, 2006

The final filmography will be published at the end of the course at https://ilariaadepascalis.wordpress.com/

The course addresses film narrative and stylistic forms, from classic Hollywood to contemporary cinema. Through the analysis of specific sequences and films, the course addresses classic cinema from the 1930s, the melodramatic style from the 1950s, film modernity (in particular Italian art film from the 1960s), postmodern cinema, postclassic films, mind-game films, "global films". The last part of the course is dedicated to complex and vast narratives, especially the narrative universe by David Lynch. The film analysis will be conducted through various methods and approaches; among then, structuralism and semiotics, formal analysis and style, psychoanalysis, feminist film theory. Cultural studies and approaches will be considered in order to address modernity, postmodernism, and contemporary mediascapes.
The final syllabus is online at https://ilariaadepascalis.wordpress.com/informazioni-generali/

Veronica Pravadelli, "Dal classico al postmoderno al global. Teoria e analisi delle forme filmiche", Marsilio, Venezia 2019 (forthcoming)

Essays:
 Raymond Bellour, “The Obvious and the Code”, in "The Analysis of Film" (eng. tr. 2000).
 Laura Mulvey, "Visual Pleasure and Narrative Cinema" and "Afterthoughts on 'Visual Pleasure and Narrative Cinema' Inspired by 'Duel in the Sun'", in Visual and Other Pleasures, 1989.
 Thomas Elsaesser, "Tales of Sound and Fury. Observations on the Family Melodrama", in "Home Is Where The Heart Is", ed. by Christine Gledhill, 1987.
 Christian Metz, “The Modern Cinema and Narrativity” in "Film Language" (eng. tr. 1974).
 Paolo Bertetto, “L’analisi interpretativa. Mulholland Drive”, in Metodologie di analisi del film, a cura di Id., Laterza, Roma-Bari 2006, pp. 223-255.
 Lorenzo Marmo, “Tornando a casa. Desiderio spettatoriale e dispersione narrativa in Twin Peaks: The Return di David Lynch”, in SigMa – Rivista di Letterature comparate, Teatro e Arti dello spettacolo, vol. 1, 2017, pp. 537-561, disponibile al link http://www.serena.unina.it/index.php/sigma/article/view/5525/6168.


Films:
 "Bringing Up Baby", Howard Hawks, 1938
 "Written on the Wind", Douglas Sirk, 1958
 "Prima della rivoluzione", "Before the Revolution", Bernardo Bertolucci, 1964
 "Je, tu, il, elle", Chantal Akerman, 1974
 "Die Hard", John McTiernan, 1988
 "Mulholland Drive", David Lynch, 2001
 "Twin Peaks", David Lynch e Mark Frost, ABC, 1990-1991 | Showtime, 2017
 "Babel", Alejandro González Iñárritu, 2006

The final filmography will be published at the end of the course at https://ilariaadepascalis.wordpress.com/