Università Roma Tre

With the support of some theoretical and critical reference contributions, we will review the milestones that marked the emergence of film as an art and as a cultural industry, from pre-cinema to classical Hollywood, through the experience of 1920s Avant-Gardes, the introduction of sound and the emergence of different models of "Studio System". Renoir and the modernism of The Rules of the Game. Welles and the experimentalism of Citizen Kane. The neorealism as seen by Rossellini. The hieratic classicism of Ozu. The lesson of Bazin and the Nouvelle Vague (Godard). Modern auteur film (Bergman, Antonioni, Tarkovskij). Cinema novo (Rocha). New Hollywood (Coppola). New Iranian cinema (Kiarostami). The emergence of women's film and the synergy film-television (Campion). The digital switchover and the relaunch of 3D (Avatar).

Bibliography:
David Bordwell, Kristin Thompson, Storia del cinema. Un’introduzione, Milano, McGraw-Hill, 2010 and further editions (chapters 1-20 and Appendix).
A Reader of reference film theory and critics contributions, edited by the professor in charge (link: bit.ly/2mnTsA3).

Filmography (long feature films):
Cabiria (G. Pastrone, 1913), The Birth of a Nation (David W. Griffith, 1915), The Outlaw and His Wife (Victor Sjöstrom, 1917), Eldorado (M. L’Herbier, 1921), Nosferatu (Friedrich W. Murnau, 1922), Battleship Potëmkin (Sergej M. Ejzenštejn, 1926), Man with a Movie Camera (Dziga Vertov, 1929), Sisters of Gion (Mizoguchi Kenji, 1936), Stagecoach (John Ford, 1939), The Rules of the Game (Jean Renoir, 1939), Citizen Kane (Orson Welles, 1941), Paisan (Roberto Rossellini, 1946), Tokio Story (Jasujirô Ozu, 1953), Wild Strawberries (Ingmar Bergman, 1957), Breathless (Jean-Luc Godard, 1960), L’avventura (Michelangelo Antonioni, 1960), Antonio das Mortes (Glauber Rocha, 1969), Solaris (Andrej A. Tarkovskij, 1972), Xala (Sembene Ousmane, 1975), Apocalypse Now (Francis Ford Coppola, 1979), Close-up (Abbas Kiarostami, 1990), An Angel at My Table (Jane Campion, 1990), Avatar (James Cameron, 2009)

The History of Cinema from the origins to the contemporary.
The invention of cinema, between science and ontology. Lumière, Méliès and the "mode of primitive representation". The affirmation of the "mode of institutional representation" from the Brighton school to Griffith. Rise of Hollywood and birth of genres: slapstick comedy, Chaplin and Keaton. The avant-garde of the '20s in France (Abstractism, Dadaism and surrealism). German Expressionism. Soviet Union (theories and practices of the Editing). The sound and the classic American cinema. The Hollywood genres and the Studio System. The poetic realism and Renoir. Welles, Bazin and the modern cinema. The new Hollywood. The re-elaboration of genres in the contemporary: post-modern cinema.

David Bordwell- Kristin Thompson, Storia del cinema e dei film, McGraw-Hill Education, Milano, 2018 (ultima edizione con nuovi contenuti aggiornati).

Filmography:

Shorts Movies:

Arrivée d'un train à la Ciotat (Arrivo di un treno alla stazione Ciotat, L. Lumière, 1895), Arrivée des congressistes à Neville-sur-Saône (Arrivo dei congressisti a Neville-sur-Saône, L.Lumière, 1895), Sortie d'usine (Uscita dalla fabbrica, L. Lumière), Répas de bébé (Pasto del bambino, L. Lumière, 1895), Arroseur et arrosé (Innaffiatore e innaffiato, L.Lumière, 1896), Départ de Jerusalem en chemin de fer (Partenza da Gerusalemme in treno, prod.Lumière, 1896), L'Homme orchestre (L'uomo orchestra, G.Méliès, 1900), L'Homme à la tête en caoutchouc (L'uomo dalla testa di caucciù, G.Méliès, 1901), Voyage dans la lune (Viaggio sulla Luna, G.Méliès, 1902), Le Mélomane (Il melomane, G.Méliès, 1903), The Countryman and the Cinematograph (Il contadino e il cinema, R.W.Paul, 1901), As seen through a Telescope (Visto da un cannocchiale, G.A.Smith, 1900), Mary Jane's Mishap (La disavventura di Mary Jane, G.A.Smith, 1903), Ladies Skirts Nailed to a Fence (Gonne di signore inchiodate ad un recinto, prod. Bamforth, 1900), A Big Swallow (Un bel boccone, J.Williamson, 1901), Fire! (Fuoco!, J.Williamson, 1901), Stop Thief! (Ferma ladro!, J.Williamson, 1901), Rescued by Rover (Salvata da Rover, L.Fitzhamon, 1905). The Great Train Robbery (La grande rapina al treno, E.S.Porter, 1903), A Corner in Wheat (Un accaparramento di grano, D.W.Griffith, 1909), The Musketeers of Pig Alley (La banda di Pig Alley, D.W.Griffith,1912), The Immigrant (L'emigrante, C.S.Chaplin, 1917).Le Ballet mécanique (Il balletto meccanico, F.Léger-D.Murphy, 1924), Entr'acte (Id. R.Clair, 1924), Emak-Bakia (Id. Man Ray, 1926), Anémic Cinéma (id. M.Duchamp, 1926), Un chien andalou (Un cane andaluso, L. Buñuel, 1929).

Feature-Lenght Movies:

Sherlock Junior (B.Keaton, 1924)
Feu Mathias Pascal (Il fu Mattia Pascal, M. L’Herbier, 1925)
Il carretto fantasma (V. Sjöstrom, 1921)
Das Cabinet des Dr.Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919)
Metropolis (Id. F.Lang, 1926)
Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926)
Bringing up baby (Susanna, Howard Hawks, 1938)
La régle du jeu (La regola del gioco, Jean Renoir, 1939)
Citizen Kane (Quarto Potere, Orson Welles, 1941)
Roma città aperta (R. Rossellini, 1945)
Ladri di biciclette (V. De Sica, 1948)
Bellissima (L.Visconti, 1951)
Singin’in the Rain (Cantando sotto la pioggia, S.Donen-G.Kelly, 1952)
La notte (M. Antonioni, 1961)
Les 400 coups (I 400 colpi, F.Truffaut, 1959)
A bout de souffle (Fino all’ultimo respiro, J.L. Godard, 1960)
Taxi Driver (M. Scorsese, 1976)