Università Roma Tre

The course will follow a chronological path through the history of documentary film through some keywords. The historiographical path structured in a chronological way will be articulated through some thematic articulations concerning above all the ethical questions (representability or irrapresentability of some aspects of the real) in relation to the starting reality and the social actor, the performative and authorial issue of documentary cinema and the question of spectator reception. The chosen filmography follows an exemplary path both from the historical and thematic point of view. The second part of the course will be monographic and will be dedicated to the representation of the wild nature in the cinema of the Italian and international documentary.
The course also includes meetings with professionals in the documentary industry in order to put students directly in contact with the professions of cinema.

Marco Bertozzi-Ivelise Perniola (a cura di). Storia del cinema documentario, Roma, Carocci, 2025 (in corso di pubblicazione).
Dispense a cura della docente.

Dispense a cura della docente caricate su Moodle all’inizio del corso.

FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.

Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Luis Bunûel, Las Hurdes (1936)
Joris Ivens, Terra di Spagna (1937)
Luciano Emmer, Racconto da un affresco (1938)
McAllister-Jannings, Listen to Britain (1942)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
id. Parabola d'oro (1955)
id. Un giorno in Barbagia (1958)
Cecilia Mangini, Stendalì (1959)
id. Essere donne (1965)
Gian Franco Mingozzi, La Taranta (1962)
id. Li mali mestieri (1963)
Pier Paolo Pasolini, Appunti per un'Orestiade Africana (1970)
Chris Marker, Sans Soleil (1982)
Pietro Marcello, La bocca del lupo (2009)
Alina Marazzi, Un'ora sola ti vorrei (2012)