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.

Carlo Alberto Pinelli, Professione documentarista: storia e pratiche di una passione, Edizioni Sabinae, Roma, 2017.
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)
Dziga Vertov, Tre canti su Lenin (1934)
Henry Watt-Basil Wright, Night Mail (1936)
Luciano Emmer, Racconto da un affresco (1938)
L.Visconti, M.Serandrei, M.Pagliero, G. De Santis, Giorni di gloria (1945)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
Lorenza Mazzetti, Together (1956)
Lindsay Anderson, O, Dreamland (1953)
Linsday Anderson, Every Day Except Christmas (1957)
Jean Rouch-Edgar Morin, Chronique d'une été (1962)
Chris Marker, Sans Soleil (1982)
Jay Rosenblatt, The smell of the burning ants (1994)
Alina Marazzi, Un'ora sola ti vorrei (2012)
Firouzeh Kosrovani, Radiograph of a Family (2020)
Giovanni Veronesi, La valanga azzurra, (2024)