Università Roma Tre

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

THE COURS WILL OFFER AN OVERVIEW OF FILM HISTORY, WITH PARTICULAR FOCUS ON THE ORIGIN AND DEVELOPMENT OF CINEMATIC LANGUAGE AND MODES OF REPRESENTATION.

THE COURS WILL OFFER AN OVERVIEW OF FILM HISTORY, WITH PARTICULAR FOCUS ON THE ORIGIN AND DEVELOPMENT OF CINEMATIC LANGUAGE AND MODES OF REPRESENTATION.

THE COURS WILL OFFER AN OVERVIEW OF FILM HISTORY, WITH PARTICULAR FOCUS ON THE ORIGIN AND DEVELOPMENT OF CINEMATIC LANGUAGE AND MODES OF REPRESENTATION.

Part 1 - The film direction

- What is the direction? Tasks and characteristics of the film director

- Film’s setting and its lead characters

- The director as a spectator. The ability to look and to analyze the film

- Visualization. Translating a script into images

- The importance of teamwork. The crew



Part 2 - The shot


- Picture painting

- Major movie formats (1.37, 1:1.85, 2.35:1, 2P)

- Scale of the screens and frames

- Point of view, center of attention and Focus



Part -3 – Movie’s basics elements


- Scenic space.

- Film space

- Graphics Codes (captions, subtitles, written and titles)

- Sound Codes (noises, voices, sounds - and diegetic extra diegetic - voice and voice over off)

- Codes of syntactic or editing (editing inside the framework, continuity / discontinuity, proximity, transition, contrast) - the transparent editing.

- Use of the soundtrack. Original music and non-original music

- Field, home run and reverse

- Gaze line and passing over the field

- Passing over of the field

- Objective and Subjective shots

- Plan sequence and the point of view

- Against Angle, camera movement, lenses, depth of field, line of gaze and visual continuity) - the space system at 180 ° - axis attack

- Introduction to the editing: montage and decoupage

-The Master method: what are the best film cameras?

- Scene Masters, shooting coverage, camera angles and turnaround

- Shooting order and shooting list

- Actor’s position, optical and focal

- Shot duration

- Camera movements - Technical Considerations, narrative and emotional meanings

- Vertical and horizontal shot

- The track

- Optical zoom or tracking shot

- Dolly and crane

- Hand-held camera and the steady-cam

- Luma and crane

- Sky-cam, camera-car and aerial photograph

- Lockdown and sequence plan. Finding a the perfect directing balance

- "Bring home the movie." The relationship with the production and contractual obligations

- Shooting ratio. How to achieve the right frame for each shot



Part 4: practical and theoretical Depth


- The director and film writing: brainstorming, story concept, subject, cues, treatment, storyboards and decoupage

- Characters: peculiar and distinctive elements of personality, relationship between the story and the characters - archetypes and stereotypes

- The subject: original or literature adaptation?

- The Process: identification of a structure and division into three acts

- Dialogues: the need for realism and adherence to reality

- Formatting and styles. Screenplay (Italian, American, French style)

- Time horizon – flash back - flash forward

- Fiction and Documentary. Directing approach, specificity, and differences

- The complexity of the audiovisual sector. Video clip, advertising, 3D animation, documentary and reportage, video art and installations




Part 5 - From Script to the set


- Working with the actor. Relationship between filmmaker and actor and acting styles

- Casting of actors and research

- Dialogues and likelihood. The reading aloud of the script and director-actor collaboration in the preparation of the film.

- The vocabulary and the rites of the set. Introduction to key terms and film vocabulary

- "Silence! Rolling, Action." The procedures and rites of the set

- Comparison between the comparative technical terms used in the Italian and American cinema

- Short movie. Language, style and narrative structure in the universe of "short" movies

- Major differences between long and short narrative

- Different durations (The Short, and even shorter ones). The narrative importance of the synthetic construction of the frame. Expressive

Part 1 - The film direction

- What is the direction? Tasks and characteristics of the film director

- Film’s setting and its lead characters

- The director as a spectator. The ability to look and to analyze the film

- Visualization. Translating a script into images

- The importance of teamwork. The crew



Part 2 - The shot


- Picture painting

- Major movie formats (1.37, 1:1.85, 2.35:1, 2P)

- Scale of the screens and frames

- Point of view, center of attention and Focus



Part -3 – Movie’s basics elements


- Scenic space.

- Film space

- Graphics Codes (captions, subtitles, written and titles)

- Sound Codes (noises, voices, sounds - and diegetic extra diegetic - voice and voice over off)

- Codes of syntactic or editing (editing inside the framework, continuity / discontinuity, proximity, transition, contrast) - the transparent editing.

- Use of the soundtrack. Original music and non-original music

- Field, home run and reverse

- Gaze line and passing over the field

- Passing over of the field

- Objective and Subjective shots

- Plan sequence and the point of view

- Against Angle, camera movement, lenses, depth of field, line of gaze and visual continuity) - the space system at 180 ° - axis attack

- Introduction to the editing: montage and decoupage

-The Master method: what are the best film cameras?

- Scene Masters, shooting coverage, camera angles and turnaround

- Shooting order and shooting list

- Actor’s position, optical and focal

- Shot duration

- Camera movements - Technical Considerations, narrative and emotional meanings

- Vertical and horizontal shot

- The track

- Optical zoom or tracking shot

- Dolly and crane

- Hand-held camera and the steady-cam

- Luma and crane

- Sky-cam, camera-car and aerial photograph

- Lockdown and sequence plan. Finding a the perfect directing balance

- "Bring home the movie." The relationship with the production and contractual obligations

- Shooting ratio. How to achieve the right frame for each shot



Part 4: practical and theoretical Depth


- The director and film writing: brainstorming, story concept, subject, cues, treatment, storyboards and decoupage

- Characters: peculiar and distinctive elements of personality, relationship between the story and the characters - archetypes and stereotypes

- The subject: original or literature adaptation?

- The Process: identification of a structure and division into three acts

- Dialogues: the need for realism and adherence to reality

- Formatting and styles. Screenplay (Italian, American, French style)

- Time horizon – flash back - flash forward

- Fiction and Documentary. Directing approach, specificity, and differences

- The complexity of the audiovisual sector. Video clip, advertising, 3D animation, documentary and reportage, video art and installations




Part 5 - From Script to the set


- Working with the actor. Relationship between filmmaker and actor and acting styles

- Casting of actors and research

- Dialogues and likelihood. The reading aloud of the script and director-actor collaboration in the preparation of the film.

- The vocabulary and the rites of the set. Introduction to key terms and film vocabulary

- "Silence! Rolling, Action." The procedures and rites of the set

- Comparison between the comparative technical terms used in the Italian and American cinema

- Short movie. Language, style and narrative structure in the universe of "short" movies

- Major differences between long and short narrative

- Different durations (The Short, and even shorter ones). The narrative importance of the synthetic construction of the frame. Expressive

Part 1 - The film direction

- What is the direction? Tasks and characteristics of the film director

- Film’s setting and its lead characters

- The director as a spectator. The ability to look and to analyze the film

- Visualization. Translating a script into images

- The importance of teamwork. The crew



Part 2 - The shot


- Picture painting

- Major movie formats (1.37, 1:1.85, 2.35:1, 2P)

- Scale of the screens and frames

- Point of view, center of attention and Focus



Part -3 – Movie’s basics elements


- Scenic space.

- Film space

- Graphics Codes (captions, subtitles, written and titles)

- Sound Codes (noises, voices, sounds - and diegetic extra diegetic - voice and voice over off)

- Codes of syntactic or editing (editing inside the framework, continuity / discontinuity, proximity, transition, contrast) - the transparent editing.

- Use of the soundtrack. Original music and non-original music

- Field, home run and reverse

- Gaze line and passing over the field

- Passing over of the field

- Objective and Subjective shots

- Plan sequence and the point of view

- Against Angle, camera movement, lenses, depth of field, line of gaze and visual continuity) - the space system at 180 ° - axis attack

- Introduction to the editing: montage and decoupage

-The Master method: what are the best film cameras?

- Scene Masters, shooting coverage, camera angles and turnaround

- Shooting order and shooting list

- Actor’s position, optical and focal

- Shot duration

- Camera movements - Technical Considerations, narrative and emotional meanings

- Vertical and horizontal shot

- The track

- Optical zoom or tracking shot

- Dolly and crane

- Hand-held camera and the steady-cam

- Luma and crane

- Sky-cam, camera-car and aerial photograph

- Lockdown and sequence plan. Finding a the perfect directing balance

- "Bring home the movie." The relationship with the production and contractual obligations

- Shooting ratio. How to achieve the right frame for each shot



Part 4: practical and theoretical Depth


- The director and film writing: brainstorming, story concept, subject, cues, treatment, storyboards and decoupage

- Characters: peculiar and distinctive elements of personality, relationship between the story and the characters - archetypes and stereotypes

- The subject: original or literature adaptation?

- The Process: identification of a structure and division into three acts

- Dialogues: the need for realism and adherence to reality

- Formatting and styles. Screenplay (Italian, American, French style)

- Time horizon – flash back - flash forward

- Fiction and Documentary. Directing approach, specificity, and differences

- The complexity of the audiovisual sector. Video clip, advertising, 3D animation, documentary and reportage, video art and installations




Part 5 - From Script to the set


- Working with the actor. Relationship between filmmaker and actor and acting styles

- Casting of actors and research

- Dialogues and likelihood. The reading aloud of the script and director-actor collaboration in the preparation of the film.

- The vocabulary and the rites of the set. Introduction to key terms and film vocabulary

- "Silence! Rolling, Action." The procedures and rites of the set

- Comparison between the comparative technical terms used in the Italian and American cinema

- Short movie. Language, style and narrative structure in the universe of "short" movies

- Major differences between long and short narrative

- Different durations (The Short, and even shorter ones). The narrative importance of the synthetic construction of the frame. Expressive

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

NEOREALISM
THE COURSE PROPOSES A HISTORICAL, CRITICAL AND THEORETICAL ANALYSIS OF NEOREALISM.

NEOREALISM
THE COURSE PROPOSES A HISTORICAL, CRITICAL AND THEORETICAL ANALYSIS OF NEOREALISM.

The laboratory aims to analyze, from an operational standpoint, by studying several cases, the joints and procedures in the advertising communication.

THE COURS WILL OFFER AN OVERVIEW OF FILM HISTORY, WITH PARTICULAR FOCUS ON THE ORIGIN AND DEVELOPMENT OF CINEMATIC LANGUAGE AND MODES OF REPRESENTATION.

THE COURS WILL OFFER AN OVERVIEW OF FILM HISTORY, WITH PARTICULAR FOCUS ON THE ORIGIN AND DEVELOPMENT OF CINEMATIC LANGUAGE AND MODES OF REPRESENTATION.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

THE COURS WILL OFFER AN OVERVIEW OF FILM HISTORY, WITH PARTICULAR FOCUS ON THE ORIGIN AND DEVELOPMENT OF CINEMATIC LANGUAGE AND MODES OF REPRESENTATION.

THE COURSE PROVIDES BASIC HISTORICAL AND CRITICAL KNOWLEDGE ABOUT HISTORY OF CINEMA.

Part 1 - The film direction

- What is the direction? Tasks and characteristics of the film director

- Film’s setting and its lead characters

- The director as a spectator. The ability to look and to analyze the film

- Visualization. Translating a script into images

- The importance of teamwork. The crew



Part 2 - The shot


- Picture painting

- Major movie formats (1.37, 1:1.85, 2.35:1, 2P)

- Scale of the screens and frames

- Point of view, center of attention and Focus



Part -3 – Movie’s basics elements


- Scenic space.

- Film space

- Graphics Codes (captions, subtitles, written and titles)

- Sound Codes (noises, voices, sounds - and diegetic extra diegetic - voice and voice over off)

- Codes of syntactic or editing (editing inside the framework, continuity / discontinuity, proximity, transition, contrast) - the transparent editing.

- Use of the soundtrack. Original music and non-original music

- Field, home run and reverse

- Gaze line and passing over the field

- Passing over of the field

- Objective and Subjective shots

- Plan sequence and the point of view

- Against Angle, camera movement, lenses, depth of field, line of gaze and visual continuity) - the space system at 180 ° - axis attack

- Introduction to the editing: montage and decoupage

-The Master method: what are the best film cameras?

- Scene Masters, shooting coverage, camera angles and turnaround

- Shooting order and shooting list

- Actor’s position, optical and focal

- Shot duration

- Camera movements - Technical Considerations, narrative and emotional meanings

- Vertical and horizontal shot

- The track

- Optical zoom or tracking shot

- Dolly and crane

- Hand-held camera and the steady-cam

- Luma and crane

- Sky-cam, camera-car and aerial photograph

- Lockdown and sequence plan. Finding a the perfect directing balance

- "Bring home the movie." The relationship with the production and contractual obligations

- Shooting ratio. How to achieve the right frame for each shot



Part 4: practical and theoretical Depth


- The director and film writing: brainstorming, story concept, subject, cues, treatment, storyboards and decoupage

- Characters: peculiar and distinctive elements of personality, relationship between the story and the characters - archetypes and stereotypes

- The subject: original or literature adaptation?

- The Process: identification of a structure and division into three acts

- Dialogues: the need for realism and adherence to reality

- Formatting and styles. Screenplay (Italian, American, French style)

- Time horizon – flash back - flash forward

- Fiction and Documentary. Directing approach, specificity, and differences

- The complexity of the audiovisual sector. Video clip, advertising, 3D animation, documentary and reportage, video art and installations




Part 5 - From Script to the set


- Working with the actor. Relationship between filmmaker and actor and acting styles

- Casting of actors and research

- Dialogues and likelihood. The reading aloud of the script and director-actor collaboration in the preparation of the film.

- The vocabulary and the rites of the set. Introduction to key terms and film vocabulary

- "Silence! Rolling, Action." The procedures and rites of the set

- Comparison between the comparative technical terms used in the Italian and American cinema

- Short movie. Language, style and narrative structure in the universe of "short" movies

- Major differences between long and short narrative

- Different durations (The Short, and even shorter ones). The narrative importance of the synthetic construction of the frame. Expressive

Part 1 - The film direction

- What is the direction? Tasks and characteristics of the film director

- Film’s setting and its lead characters

- The director as a spectator. The ability to look and to analyze the film

- Visualization. Translating a script into images

- The importance of teamwork. The crew



Part 2 - The shot


- Picture painting

- Major movie formats (1.37, 1:1.85, 2.35:1, 2P)

- Scale of the screens and frames

- Point of view, center of attention and Focus



Part -3 – Movie’s basics elements


- Scenic space.

- Film space

- Graphics Codes (captions, subtitles, written and titles)

- Sound Codes (noises, voices, sounds - and diegetic extra diegetic - voice and voice over off)

- Codes of syntactic or editing (editing inside the framework, continuity / discontinuity, proximity, transition, contrast) - the transparent editing.

- Use of the soundtrack. Original music and non-original music

- Field, home run and reverse

- Gaze line and passing over the field

- Passing over of the field

- Objective and Subjective shots

- Plan sequence and the point of view

- Against Angle, camera movement, lenses, depth of field, line of gaze and visual continuity) - the space system at 180 ° - axis attack

- Introduction to the editing: montage and decoupage

-The Master method: what are the best film cameras?

- Scene Masters, shooting coverage, camera angles and turnaround

- Shooting order and shooting list

- Actor’s position, optical and focal

- Shot duration

- Camera movements - Technical Considerations, narrative and emotional meanings

- Vertical and horizontal shot

- The track

- Optical zoom or tracking shot

- Dolly and crane

- Hand-held camera and the steady-cam

- Luma and crane

- Sky-cam, camera-car and aerial photograph

- Lockdown and sequence plan. Finding a the perfect directing balance

- "Bring home the movie." The relationship with the production and contractual obligations

- Shooting ratio. How to achieve the right frame for each shot



Part 4: practical and theoretical Depth


- The director and film writing: brainstorming, story concept, subject, cues, treatment, storyboards and decoupage

- Characters: peculiar and distinctive elements of personality, relationship between the story and the characters - archetypes and stereotypes

- The subject: original or literature adaptation?

- The Process: identification of a structure and division into three acts

- Dialogues: the need for realism and adherence to reality

- Formatting and styles. Screenplay (Italian, American, French style)

- Time horizon – flash back - flash forward

- Fiction and Documentary. Directing approach, specificity, and differences

- The complexity of the audiovisual sector. Video clip, advertising, 3D animation, documentary and reportage, video art and installations




Part 5 - From Script to the set


- Working with the actor. Relationship between filmmaker and actor and acting styles

- Casting of actors and research

- Dialogues and likelihood. The reading aloud of the script and director-actor collaboration in the preparation of the film.

- The vocabulary and the rites of the set. Introduction to key terms and film vocabulary

- "Silence! Rolling, Action." The procedures and rites of the set

- Comparison between the comparative technical terms used in the Italian and American cinema

- Short movie. Language, style and narrative structure in the universe of "short" movies

- Major differences between long and short narrative

- Different durations (The Short, and even shorter ones). The narrative importance of the synthetic construction of the frame. Expressive

Part 1 - The film direction

- What is the direction? Tasks and characteristics of the film director

- Film’s setting and its lead characters

- The director as a spectator. The ability to look and to analyze the film

- Visualization. Translating a script into images

- The importance of teamwork. The crew



Part 2 - The shot


- Picture painting

- Major movie formats (1.37, 1:1.85, 2.35:1, 2P)

- Scale of the screens and frames

- Point of view, center of attention and Focus



Part -3 – Movie’s basics elements


- Scenic space.

- Film space

- Graphics Codes (captions, subtitles, written and titles)

- Sound Codes (noises, voices, sounds - and diegetic extra diegetic - voice and voice over off)

- Codes of syntactic or editing (editing inside the framework, continuity / discontinuity, proximity, transition, contrast) - the transparent editing.

- Use of the soundtrack. Original music and non-original music

- Field, home run and reverse

- Gaze line and passing over the field

- Passing over of the field

- Objective and Subjective shots

- Plan sequence and the point of view

- Against Angle, camera movement, lenses, depth of field, line of gaze and visual continuity) - the space system at 180 ° - axis attack

- Introduction to the editing: montage and decoupage

-The Master method: what are the best film cameras?

- Scene Masters, shooting coverage, camera angles and turnaround

- Shooting order and shooting list

- Actor’s position, optical and focal

- Shot duration

- Camera movements - Technical Considerations, narrative and emotional meanings

- Vertical and horizontal shot

- The track

- Optical zoom or tracking shot

- Dolly and crane

- Hand-held camera and the steady-cam

- Luma and crane

- Sky-cam, camera-car and aerial photograph

- Lockdown and sequence plan. Finding a the perfect directing balance

- "Bring home the movie." The relationship with the production and contractual obligations

- Shooting ratio. How to achieve the right frame for each shot



Part 4: practical and theoretical Depth


- The director and film writing: brainstorming, story concept, subject, cues, treatment, storyboards and decoupage

- Characters: peculiar and distinctive elements of personality, relationship between the story and the characters - archetypes and stereotypes

- The subject: original or literature adaptation?

- The Process: identification of a structure and division into three acts

- Dialogues: the need for realism and adherence to reality

- Formatting and styles. Screenplay (Italian, American, French style)

- Time horizon – flash back - flash forward

- Fiction and Documentary. Directing approach, specificity, and differences

- The complexity of the audiovisual sector. Video clip, advertising, 3D animation, documentary and reportage, video art and installations




Part 5 - From Script to the set


- Working with the actor. Relationship between filmmaker and actor and acting styles

- Casting of actors and research

- Dialogues and likelihood. The reading aloud of the script and director-actor collaboration in the preparation of the film.

- The vocabulary and the rites of the set. Introduction to key terms and film vocabulary

- "Silence! Rolling, Action." The procedures and rites of the set

- Comparison between the comparative technical terms used in the Italian and American cinema

- Short movie. Language, style and narrative structure in the universe of "short" movies

- Major differences between long and short narrative

- Different durations (The Short, and even shorter ones). The narrative importance of the synthetic construction of the frame. Expressive

NEOREALISM
THE COURSE PROPOSES A HISTORICAL, CRITICAL AND THEORETICAL ANALYSIS OF NEOREALISM.

NEOREALISM
THE COURSE PROPOSES A HISTORICAL, CRITICAL AND THEORETICAL ANALYSIS OF NEOREALISM.

The laboratory aims to analyze, from an operational standpoint, by studying several cases, the joints and procedures in the advertising communication.

THE COURS WILL OFFER AN OVERVIEW OF FILM HISTORY, WITH PARTICULAR FOCUS ON THE ORIGIN AND DEVELOPMENT OF CINEMATIC LANGUAGE AND MODES OF REPRESENTATION.

THE COURS WILL OFFER AN OVERVIEW OF FILM HISTORY, WITH PARTICULAR FOCUS ON THE ORIGIN AND DEVELOPMENT OF CINEMATIC LANGUAGE AND MODES OF REPRESENTATION.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

The course aims to provide elements of knowledge of management, production and organizational activities related to arts and entertainment events.

THE COURS WILL OFFER AN OVERVIEW OF FILM HISTORY, WITH PARTICULAR FOCUS ON THE ORIGIN AND DEVELOPMENT OF CINEMATIC LANGUAGE AND MODES OF REPRESENTATION.

THE COURSE PROVIDES BASIC HISTORICAL AND CRITICAL KNOWLEDGE ABOUT HISTORY OF CINEMA.

Part 1 - The film direction

- What is the direction? Tasks and characteristics of the film director

- Film’s setting and its lead characters

- The director as a spectator. The ability to look and to analyze the film

- Visualization. Translating a script into images

- The importance of teamwork. The crew



Part 2 - The shot


- Picture painting

- Major movie formats (1.37, 1:1.85, 2.35:1, 2P)

- Scale of the screens and frames

- Point of view, center of attention and Focus



Part -3 – Movie’s basics elements


- Scenic space.

- Film space

- Graphics Codes (captions, subtitles, written and titles)

- Sound Codes (noises, voices, sounds - and diegetic extra diegetic - voice and voice over off)

- Codes of syntactic or editing (editing inside the framework, continuity / discontinuity, proximity, transition, contrast) - the transparent editing.

- Use of the soundtrack. Original music and non-original music

- Field, home run and reverse

- Gaze line and passing over the field

- Passing over of the field

- Objective and Subjective shots

- Plan sequence and the point of view

- Against Angle, camera movement, lenses, depth of field, line of gaze and visual continuity) - the space system at 180 ° - axis attack

- Introduction to the editing: montage and decoupage

-The Master method: what are the best film cameras?

- Scene Masters, shooting coverage, camera angles and turnaround

- Shooting order and shooting list

- Actor’s position, optical and focal

- Shot duration

- Camera movements - Technical Considerations, narrative and emotional meanings

- Vertical and horizontal shot

- The track

- Optical zoom or tracking shot

- Dolly and crane

- Hand-held camera and the steady-cam

- Luma and crane

- Sky-cam, camera-car and aerial photograph

- Lockdown and sequence plan. Finding a the perfect directing balance

- "Bring home the movie." The relationship with the production and contractual obligations

- Shooting ratio. How to achieve the right frame for each shot



Part 4: practical and theoretical Depth


- The director and film writing: brainstorming, story concept, subject, cues, treatment, storyboards and decoupage

- Characters: peculiar and distinctive elements of personality, relationship between the story and the characters - archetypes and stereotypes

- The subject: original or literature adaptation?

- The Process: identification of a structure and division into three acts

- Dialogues: the need for realism and adherence to reality

- Formatting and styles. Screenplay (Italian, American, French style)

- Time horizon – flash back - flash forward

- Fiction and Documentary. Directing approach, specificity, and differences

- The complexity of the audiovisual sector. Video clip, advertising, 3D animation, documentary and reportage, video art and installations




Part 5 - From Script to the set


- Working with the actor. Relationship between filmmaker and actor and acting styles

- Casting of actors and research

- Dialogues and likelihood. The reading aloud of the script and director-actor collaboration in the preparation of the film.

- The vocabulary and the rites of the set. Introduction to key terms and film vocabulary

- "Silence! Rolling, Action." The procedures and rites of the set

- Comparison between the comparative technical terms used in the Italian and American cinema

- Short movie. Language, style and narrative structure in the universe of "short" movies

- Major differences between long and short narrative

- Different durations (The Short, and even shorter ones). The narrative importance of the synthetic construction of the frame. Expressive

Part 1 - The film direction

- What is the direction? Tasks and characteristics of the film director

- Film’s setting and its lead characters

- The director as a spectator. The ability to look and to analyze the film

- Visualization. Translating a script into images

- The importance of teamwork. The crew



Part 2 - The shot


- Picture painting

- Major movie formats (1.37, 1:1.85, 2.35:1, 2P)

- Scale of the screens and frames

- Point of view, center of attention and Focus



Part -3 – Movie’s basics elements


- Scenic space.

- Film space

- Graphics Codes (captions, subtitles, written and titles)

- Sound Codes (noises, voices, sounds - and diegetic extra diegetic - voice and voice over off)

- Codes of syntactic or editing (editing inside the framework, continuity / discontinuity, proximity, transition, contrast) - the transparent editing.

- Use of the soundtrack. Original music and non-original music

- Field, home run and reverse

- Gaze line and passing over the field

- Passing over of the field

- Objective and Subjective shots

- Plan sequence and the point of view

- Against Angle, camera movement, lenses, depth of field, line of gaze and visual continuity) - the space system at 180 ° - axis attack

- Introduction to the editing: montage and decoupage

-The Master method: what are the best film cameras?

- Scene Masters, shooting coverage, camera angles and turnaround

- Shooting order and shooting list

- Actor’s position, optical and focal

- Shot duration

- Camera movements - Technical Considerations, narrative and emotional meanings

- Vertical and horizontal shot

- The track

- Optical zoom or tracking shot

- Dolly and crane

- Hand-held camera and the steady-cam

- Luma and crane

- Sky-cam, camera-car and aerial photograph

- Lockdown and sequence plan. Finding a the perfect directing balance

- "Bring home the movie." The relationship with the production and contractual obligations

- Shooting ratio. How to achieve the right frame for each shot



Part 4: practical and theoretical Depth


- The director and film writing: brainstorming, story concept, subject, cues, treatment, storyboards and decoupage

- Characters: peculiar and distinctive elements of personality, relationship between the story and the characters - archetypes and stereotypes

- The subject: original or literature adaptation?

- The Process: identification of a structure and division into three acts

- Dialogues: the need for realism and adherence to reality

- Formatting and styles. Screenplay (Italian, American, French style)

- Time horizon – flash back - flash forward

- Fiction and Documentary. Directing approach, specificity, and differences

- The complexity of the audiovisual sector. Video clip, advertising, 3D animation, documentary and reportage, video art and installations




Part 5 - From Script to the set


- Working with the actor. Relationship between filmmaker and actor and acting styles

- Casting of actors and research

- Dialogues and likelihood. The reading aloud of the script and director-actor collaboration in the preparation of the film.

- The vocabulary and the rites of the set. Introduction to key terms and film vocabulary

- "Silence! Rolling, Action." The procedures and rites of the set

- Comparison between the comparative technical terms used in the Italian and American cinema

- Short movie. Language, style and narrative structure in the universe of "short" movies

- Major differences between long and short narrative

- Different durations (The Short, and even shorter ones). The narrative importance of the synthetic construction of the frame. Expressive

Part 1 - The film direction

- What is the direction? Tasks and characteristics of the film director

- Film’s setting and its lead characters

- The director as a spectator. The ability to look and to analyze the film

- Visualization. Translating a script into images

- The importance of teamwork. The crew



Part 2 - The shot


- Picture painting

- Major movie formats (1.37, 1:1.85, 2.35:1, 2P)

- Scale of the screens and frames

- Point of view, center of attention and Focus



Part -3 – Movie’s basics elements


- Scenic space.

- Film space

- Graphics Codes (captions, subtitles, written and titles)

- Sound Codes (noises, voices, sounds - and diegetic extra diegetic - voice and voice over off)

- Codes of syntactic or editing (editing inside the framework, continuity / discontinuity, proximity, transition, contrast) - the transparent editing.

- Use of the soundtrack. Original music and non-original music

- Field, home run and reverse

- Gaze line and passing over the field

- Passing over of the field

- Objective and Subjective shots

- Plan sequence and the point of view

- Against Angle, camera movement, lenses, depth of field, line of gaze and visual continuity) - the space system at 180 ° - axis attack

- Introduction to the editing: montage and decoupage

-The Master method: what are the best film cameras?

- Scene Masters, shooting coverage, camera angles and turnaround

- Shooting order and shooting list

- Actor’s position, optical and focal

- Shot duration

- Camera movements - Technical Considerations, narrative and emotional meanings

- Vertical and horizontal shot

- The track

- Optical zoom or tracking shot

- Dolly and crane

- Hand-held camera and the steady-cam

- Luma and crane

- Sky-cam, camera-car and aerial photograph

- Lockdown and sequence plan. Finding a the perfect directing balance

- "Bring home the movie." The relationship with the production and contractual obligations

- Shooting ratio. How to achieve the right frame for each shot



Part 4: practical and theoretical Depth


- The director and film writing: brainstorming, story concept, subject, cues, treatment, storyboards and decoupage

- Characters: peculiar and distinctive elements of personality, relationship between the story and the characters - archetypes and stereotypes

- The subject: original or literature adaptation?

- The Process: identification of a structure and division into three acts

- Dialogues: the need for realism and adherence to reality

- Formatting and styles. Screenplay (Italian, American, French style)

- Time horizon – flash back - flash forward

- Fiction and Documentary. Directing approach, specificity, and differences

- The complexity of the audiovisual sector. Video clip, advertising, 3D animation, documentary and reportage, video art and installations




Part 5 - From Script to the set


- Working with the actor. Relationship between filmmaker and actor and acting styles

- Casting of actors and research

- Dialogues and likelihood. The reading aloud of the script and director-actor collaboration in the preparation of the film.

- The vocabulary and the rites of the set. Introduction to key terms and film vocabulary

- "Silence! Rolling, Action." The procedures and rites of the set

- Comparison between the comparative technical terms used in the Italian and American cinema

- Short movie. Language, style and narrative structure in the universe of "short" movies

- Major differences between long and short narrative

- Different durations (The Short, and even shorter ones). The narrative importance of the synthetic construction of the frame. Expressive

NEOREALISM
THE COURSE PROPOSES A HISTORICAL, CRITICAL AND THEORETICAL ANALYSIS OF NEOREALISM.

NEOREALISM
THE COURSE PROPOSES A HISTORICAL, CRITICAL AND THEORETICAL ANALYSIS OF NEOREALISM.

The course aims to highlight the convergence or even the substantial identity between the two famous Aristotelian definition of Homo sapiens animal that has language and political animal. studying the texts of some important linguists and philosophers of language, as well as the major work of Hannah Arendt, Vita Activa, we would like to clarify the reasons for which the verbal language can be considered the biological organ of public praxis.

The course aims to highlight the convergence or even the substantial identity between the two famous Aristotelian definition of Homo sapiens animal that has language and political animal. studying the texts of some important linguists and philosophers of language, as well as the major work of Hannah Arendt, Vita Activa, we would like to clarify the reasons for which the verbal language can be considered the biological organ of public praxis.

The laboratory aims to analyze, from an operational standpoint, by studying several cases, the joints and procedures in the advertising communication.

THE COURS WILL OFFER AN OVERVIEW OF FILM HISTORY, WITH PARTICULAR FOCUS ON THE ORIGIN AND DEVELOPMENT OF CINEMATIC LANGUAGE AND MODES OF REPRESENTATION.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

The laboratory aims to analyze, from an operational standpoint, by studying several cases, the joints and procedures in the advertising communication.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

Each year I select an author, genre, or theme to acquaint students with the basic tools needed to critically address an American literary text and familiarize them with major theoretical schools originating in the USA. We will assess the varieties of cultural and literary expression in the assigned books. We will emphasize the connection existing between literature and national identity, and we will investigate the history and evolution of significant literary forms. From there, we will focus on their transformation, manipulation, and migration into non-literary fields, such as the visual arts.

THE COURS WILL OFFER AN OVERVIEW OF FILM HISTORY, WITH PARTICULAR FOCUS ON THE ORIGIN AND DEVELOPMENT OF CINEMATIC LANGUAGE AND MODES OF REPRESENTATION.