Università Roma Tre

By relying on a set of reference contributions in film and media studies, we will review the main steps that marked the process of film history as an art, a language and an industry, from the so-called pre-cinema to classical Hollywood, dealing with the avant-gardes of 1920s, the transition to sound film, the emergence of different models of Studio System. Renoir and the modernity of The Rules of the Game. Welles’ experimentalism in Citizen Kane. Neorealism as seen by Rossellini. Hieratic classicism in Ozu. Modern author cinemas (Bergman, Antonioni, Tarkovskij). Bazin’s lesson and Nouvelle Vague (Godard). Cinema Novo (Rocha). New Hollywood (Coppola). New Iranian Cinema (Kiarostami). The emergence of Women’s Cinema and the cinema-television synergy (Campion). The transition to digital and the relaunch of 3D (Avatar).

BIBLIOGRAPHY
Christian Uva, Vito Zagarrio (eds.), Le storia del cinema. Dalle origini al digitale, Roma, Carocci, 2020.
A reader of film history and theory articles, edited by the teacher, to be downloaded here (https://bit.ly/3wL1xyw).

FILMOGRAPHY
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, a Symphony of Horror (Friedrich W. Murnau, 1922), Battleship Potemkin (Sergej M. Ejzenštejn, 1926), The 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), Paisà (Roberto Rossellini, 1946), Tokyo Story (Yasujirô Ozu, 1953), Wild Strawberries (Ingmar Bergman, 1957), L’avventura (Michelangelo Antonioni, 1960), Breathless (Jean-Luc Godard, 1960), Antonio das Mortes (Glauber Rocha, 1969), Solaris (Andrej A. Tarkovskij, 1972), Xala (Sembene Ousmane, 1975), Apocalypse Now – Final Cut (Francis Ford Coppola, 1979-2019), Close-up (Abbas Kiarostami, 1990), An Angel at My Table (Jane Campion, 1990), Avatar (James Cameron, 2009).
A selection of shorts, edited by the teacher (1897-1918).

The invention of cinema, between science and ontology. Lumière, Méliès and the "primitive way of representation". The affirmation of the "institutional mode of representation" from the School of Brighton to Griffith. The rise of Hollywood and the birth of genres: the slapstick comedy, Chaplin and Keaton. The avant-gardes of the 1920s in France (abstraction, dadaism and surrealism). German expressionism. Soviet Union (theories and practices of editing). Sound and American classic cinema. The Hollywood genres and the Studio System. Poetic realism and Renoir. Welles, Bazin and modern cinema. The Nouvelle Vague. The big film directors of modern cinema: Ingmar Bergman, Michelangelo Antonioni, Pier Paolo Pasolini, Federico Fellini. New Hollywood. The elaboration of contemporary genres: post-modern cinema.

BIBLIOGRAFIA:
C. Uva, V. Zagarrio (a cura di), "Le storie del cinema. Dalle origini al digitale", Carocci, Roma 2020.
I.Perniola (a cura di), François Truffaut, Venezia, Marsilio, 2024 (in corso di stampa).

Filmography:
FILMOGRAFIA:
CORTOMETRAGGI
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), 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), Entr'acte (Id. R.Clair, 1924), Un chien andalou (Un cane andaluso, L. Buñuel, 1929).

Lungometraggi:

Sherlock Junior (B.Keaton, 1924)
Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919)
Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926)
Aurora (Sunrise, Murnau, 1927)
L'uomo con la macchina da presa (D. Vertov, 1929)
Bringin'up Baby (Susanna, H.Hawks, 1934)
Citizen Kane (Quarto Potere, Orson Welles, 1941)
Ladri di biciclette (V. De Sica, 1948)
Singin’in the Rain (Cantando sotto la pioggia, S.Donen-G.Kelly, 1952)
Totò a colori (Steno, 1952)
Les 400 Coups (I 400 Colpi, F.Truffaut, 1959)
Á bout de souffle (Fino all’ultimo respiro, J.L. Godard, 1960)
Jules e Jim (F. Truffaut, 1961)
L'eclisse (M. Antonioni, 1962)
L'angelo sterminatore (L.Bunuel, 1962)
Baci rubati (F. Truffaut, 1968)
Taxi Driver (M. Scorsese, 1976)
La signora della porta accanto (F.Truffaut, 1981)
Hugo Cabret (M.Scorsese, 2011)