Università Roma Tre

GOALS: The teaching of "Italian Cinema" is part of the training activities that characterize the degree course in Dams (path "Cinema, television and new media"). It proposes to deal with the history of Italian cinema according to a multiplicity of perspectives concerning the cultural context, economic and legislative institutions, stylistic forms, critical and theoretical reflections, the interpretation of films, the relationships of cinema with other arts and other media. The goal is to provide knowledge and methodological tools that allow the student to measure himself critically with the history of Italian cinema and with the analysis of filmic texts.

PROGRAM: From the arrival of sound to neorealism. Italian cinema in the Fascist era. Origins and development of neorealism in the political, moral, cultural and artistic climate of the second Postwar. Production and reception modes. Plurality of ideologies, poetics, and styles. Contamination of genres. Neorealistic iconography. Forms of aesthetic renovation. The critical debate of the time. Historiographic reevaluations, critical rereadings and theoretical analyses from the 60s to today.

TEXTS: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (pp. 73-204); David Bruni, Commedia degli anni anni trenta, Il Castoro, Milano 2013; Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014 and 2016; a compilation of texts on neorealism by the teacher (you can find it in the Moodle Platform).

FILMOGRAPHY: Gli uomini, che mascalzoni… (1932) by M. Camerini; 1860 (1934) by A. Blasetti; Vecchia guardia (1935) by A. Blasetti; Dora Nelson (1939) by M. Soldati; I Grandi Magazzini (1939) by Mario Camerini; Ossessione (1943) by L.Visconti; Paisà (1946) by R. Rossellini; Germania anno zero (1948) by R. Rossellini; Ladri di biciclette (1948) by V. De Sica; La terra trema (1948) by L.Visconti; Riso amaro (1949) by G. De Santis; Miracolo a Milano (1950) by V. De Sica; Il cammino della speranza (1950) by P. Germi; Bellissima (1951) by L. Visconti; Due soldi di speranza (1951) by R. Castellani; Lo sceicco bianco (1952) by F. Fellini; Pane amore e fantasia (1953) by L. Comencini; Il grido (1957) by M. Antonioni. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course examines the period from the post-war to the present, focusing in the first part on the main stages that have marked the history of Italian cinema in terms of films, authors and genres. In the second part, we will focus instead on a particular topos, that of the beach, which has always been central to the national imagination and of course also in our cinematographic tradition. We will therefore examine the aesthetic, narrative, productive and cultural peculiarities of some cinematographic works in which the "bathing condition" has become a privileged occasion to investigate the main historical, social and anthropological changes experienced by our country in more than half a century.