Università Roma Tre

The aim of this course is to enlighten, through the film analysis, the deep relation between the Sigmund Freud’s and Jacques Lacan’s psychoanalytical theory and some masterpieces of cinema.

The course will deal with Italian comedy through a number of points of view and of methodologies. There will be analyzed the dynamics of genre, the narrative models, the typologies of characters, the star icons, the styles, the modes of production and reception. Together with the interpretation of films there will be a discussion of some essential aspects of the debate of the time and of the following reflexions in the historical-critical and theoretical field.

The course aims to re-view the Italian cinema, from Fascism to the Crisis (1930-1980), analyzing the Neorealism, the Auteur cinema, the Comedy Italian style and the New Italian Cinema. From Blasetti to Camerini, from Visconti to De Sica, from Rossellini to De Santis, from Lattuada to Bolognini, from Bertolucci to Ferreri, until the beginning of the New Cinema, the course explores many case studies of the most famous period of Italian Cinema, investigating the directorial work, the camera movements, the cinematic language, combining the theoretical/historical approach with the technical one.

The course introduces students to the main methodological tools and critical analysis of history.

Contemporary Art - Laurea Magistrale - L/ART 03
Prof. Stefano Chiodi

Course 2011-12
The Photographic medium in contemporary art

The transformation of photography into an artistic medium is one of the phenomena that contributed most significantly to redefining the visual-arts landscape after 1960 and the transition to post-modernism. Challenging the traditional conception that placed painting and sculpture at the top of the expressive hierarchy, artists began to explore the conceptual and formal qualities of photography, at the same time casting doubt on its presumed capacity to capture objective “reality.” Photography has been utilized in diverse ways, but always in keeping with an approach far removed from the techniques and esthetics that had marked its modernist phase, and in fact often in continuity with its more anonymous, idiomatic manifestations (album photos, snapshots, illustrations, etc.). This course focuses on the artistic experiences that contributed to redefining the artistic status of photography between 1960 and 1990, examining works and theoretical developments.

Analysis of the interplay between actors, stages and film in theories and practices.

TO PROVIDE TOOLS TO FACE THE STUDY OF THE MAIN PROBLEMS POSED BY THEATRICAL HISTORIOGRAPHY, BY TACKLING THE THEATRICAL CULTURES FROM TIME TO TIME EXAMINED IN RELATION TO THEIR HISTORICAL CONTEXT, TO THE OPERATING MODES THAT THEY HAVE PRODUCED AND THE TRADITIONS THAT THEY HAVE CREATED.

The course focuses on film theories from early to contemporary cinema. Our program starts from theories of silent cinema, then discusses theories of the 1930s, 1940s, and 1950s. In the second half we will study the major film theories since the late '60s: textual analysis, psychoanalytic theory, Feminist Film theory, cultural studies, film and philosophy. Two topics will be discussed more at length: the relation between cinema and modernity and theories of the look/gaze.

Acquisition of knowledge of theoretical concepts recently spread in Italy like “expanded cinema” and “expanded television”.

ACQUISIRE CONOSCENZE SU CONCETTI TEORICI DI RECENTE FORTUNA IN ITALIA

The module aims to review some of the historically privileged mode through which is articulated the relationship between literature and cinema.

S. ALERAMO, UNA DONNA; C. BERNARI, TRE OPERAI; E. VITTORINI, IL SEMPIONE STRIZZA L’OCCHIO AL FREJUS; P. MASINO, NASCITA E MORTE DELLA MASSAIA; L. BIANCIARDI, LA VITA AGRA; A. DE CÉSPEDES, PRIMA E DOPO; P. VOLPONI, MEMORIALE; P. LEVI, LA CHIAVE A STELLA; N. BALESTRINI, VOGLIAMO TUTTO; C. LONZI, VAI PURE. DIALOGO CON PIETRO CONSAGRA; M. MURGIA, IL MONDO DEVE SAPERE.

Exploring archive sources and re-elaborating them through the editing process
Film archives, photographic archives, libraries, newspaper archives: from newsreels to magazines, from Super8 to photography… the theoretical and practical process of an archive-based documentary.

The objective is to make students aware of a highly creative approach to filmmaking, capable of connecting past and present in historical and anthropological terms.

Through the course students will view, analyse and discuss key films where archive is the most important if not the only component in terms of visual language. The lecturer will draw on his own experience with this genre as a filmmaker and explore the work of Italian and foreign directors: from Nicola Caracciolo to Alina Marazzi, from Peter Forgacs to Errol Morris… examining in detail the creative potential of working with archive materials.

In the final phase of the workshop the class will be divided into four groups. Each group will choose a subject together with the lecturer and embark on a research project, working online but also visiting specific archives, so as to prepare an outline of a narrative developed through the research process. For those students with an editing background we will also consider the post-production of selected archive materials (on their own personal Avid or Final Cut) to cut a sequence of 5’ maximum based on the written outline.

The workshop, through the task of writing reviews, will face the original structure of film and filmmaking (narrative, langauage, perception) and, at the same time, will trace the theorical ad historical evolution of writing about films as it established itself since the beginning of cinema.

AIMS: The class aims at giving historical, theorical and critical tools directed to the analysis of film authors coming from Countries that have passed through the experience of colonialism (as former colonies or former colonial powers).

This course is aimed in the first instance to analyze the profiles of the advertising phenomenon, in terms of culture, social, economic and ethical. Then, taking the practices and organizational structures of the industry by providing a concrete vision of the phenomenon and updated.

AESTHETICS OF MUSIC (MSC DEGREE) DELOCALIZE ART MUSIC: USES AND ABUSES IN CINEMA (L-ART/07) 6UEC - APPOINTED TEACHING PROFESSOR: GIOVANNI GUANTI
PROGRAM AND AIMS OF TEACHING. MUSIC COMPOSED SPECIFICALLY FOR MOVIES AND MUSIC USED IN FILMS ALTHOUGH CREATED IN DIFFERENT ERAS, DIFFERENT CONTEXTS AND FOR DIFFERENT PURPOSES CAN BE SUBJECT OF THE SAME AESTHETIC JUDGMENT? WHAT IS CERTAIN IS THAT THIS DISPLACEMENT OR DELOCALISATION HAS SOMETIMES CAUSED A BRUTAL ALIENATION OF THE MUSIC, OTHER TIMES, A TRUE 'RENAISSANCE' OF IT, WITH THE PURCHASE OF NEW MEANINGS AND WIDER AUDIENCE. HENCE, THE NEED TO REFLECT ON CHANGES OF THE STATUTES OF "ART MUSIC" PRE-EXISTING AND SUBSEQUENT TO ITS USE IN THE CINEMA.

The course aims to provide to the students the main concept and categories of analysis for understanding the dynamics in place in the modern public sphere and the transformation of the political communication. Through the screening of videos and television programs the course aims to develop critical skills in the analysis of the audiovisual texts.

The aim of this course is to enlighten, through the film analysis, the deep relation between the Sigmund Freud’s and Jacques Lacan’s psychoanalytical theory and some masterpieces of cinema.

ACQUISIRE CONOSCENZE SU CONCETTI TEORICI DI RECENTE FORTUNA IN ITALIA

The course will deal with Italian comedy through a number of points of view and of methodologies. There will be analyzed the dynamics of genre, the narrative models, the typologies of characters, the star icons, the styles, the modes of production and reception. Together with the interpretation of films there will be a discussion of some essential aspects of the debate of the time and of the following reflexions in the historical-critical and theoretical field.

The course aims to re-view the Italian cinema, from Fascism to the Crisis (1930-1980), analyzing the Neorealism, the Auteur cinema, the Comedy Italian style and the New Italian Cinema. From Blasetti to Camerini, from Visconti to De Sica, from Rossellini to De Santis, from Lattuada to Bolognini, from Bertolucci to Ferreri, until the beginning of the New Cinema, the course explores many case studies of the most famous period of Italian Cinema, investigating the directorial work, the camera movements, the cinematic language, combining the theoretical/historical approach with the technical one.

The course introduces students to the main methodological tools and critical analysis of history.

Contemporary Art - Laurea Magistrale - L/ART 03
Prof. Stefano Chiodi

Course 2011-12
The Photographic medium in contemporary art

The transformation of photography into an artistic medium is one of the phenomena that contributed most significantly to redefining the visual-arts landscape after 1960 and the transition to post-modernism. Challenging the traditional conception that placed painting and sculpture at the top of the expressive hierarchy, artists began to explore the conceptual and formal qualities of photography, at the same time casting doubt on its presumed capacity to capture objective “reality.” Photography has been utilized in diverse ways, but always in keeping with an approach far removed from the techniques and esthetics that had marked its modernist phase, and in fact often in continuity with its more anonymous, idiomatic manifestations (album photos, snapshots, illustrations, etc.). This course focuses on the artistic experiences that contributed to redefining the artistic status of photography between 1960 and 1990, examining works and theoretical developments.

Analysis of the interplay between actors, stages and film in theories and practices.

The course focuses on film theories from early to contemporary cinema. Our program starts from theories of silent cinema, then discusses theories of the 1930s, 1940s, and 1950s. In the second half we will study the major film theories since the late '60s: textual analysis, psychoanalytic theory, Feminist Film theory, cultural studies, film and philosophy. Two topics will be discussed more at length: the relation between cinema and modernity and theories of the look/gaze.

Acquisition of knowledge of theoretical concepts recently spread in Italy like “expanded cinema” and “expanded television”.

The module aims to review some of the historically privileged mode through which is articulated the relationship between literature and cinema.

S. ALERAMO, UNA DONNA; C. BERNARI, TRE OPERAI; E. VITTORINI, IL SEMPIONE STRIZZA L’OCCHIO AL FREJUS; P. MASINO, NASCITA E MORTE DELLA MASSAIA; L. BIANCIARDI, LA VITA AGRA; A. DE CÉSPEDES, PRIMA E DOPO; P. VOLPONI, MEMORIALE; P. LEVI, LA CHIAVE A STELLA; N. BALESTRINI, VOGLIAMO TUTTO; C. LONZI, VAI PURE. DIALOGO CON PIETRO CONSAGRA; M. MURGIA, IL MONDO DEVE SAPERE.

Exploring archive sources and re-elaborating them through the editing process
Film archives, photographic archives, libraries, newspaper archives: from newsreels to magazines, from Super8 to photography… the theoretical and practical process of an archive-based documentary.

The objective is to make students aware of a highly creative approach to filmmaking, capable of connecting past and present in historical and anthropological terms.

Through the course students will view, analyse and discuss key films where archive is the most important if not the only component in terms of visual language. The lecturer will draw on his own experience with this genre as a filmmaker and explore the work of Italian and foreign directors: from Nicola Caracciolo to Alina Marazzi, from Peter Forgacs to Errol Morris… examining in detail the creative potential of working with archive materials.

In the final phase of the workshop the class will be divided into four groups. Each group will choose a subject together with the lecturer and embark on a research project, working online but also visiting specific archives, so as to prepare an outline of a narrative developed through the research process. For those students with an editing background we will also consider the post-production of selected archive materials (on their own personal Avid or Final Cut) to cut a sequence of 5’ maximum based on the written outline.

The workshop, through the task of writing reviews, will face the original structure of film and filmmaking (narrative, langauage, perception) and, at the same time, will trace the theorical ad historical evolution of writing about films as it established itself since the beginning of cinema.

AIMS: The class aims at giving historical, theorical and critical tools directed to the analysis of film authors coming from Countries that have passed through the experience of colonialism (as former colonies or former colonial powers).

This course is aimed in the first instance to analyze the profiles of the advertising phenomenon, in terms of culture, social, economic and ethical. Then, taking the practices and organizational structures of the industry by providing a concrete vision of the phenomenon and updated.

TO PROVIDE TOOLS TO FACE THE STUDY OF THE MAIN PROBLEMS POSED BY THEATRICAL HISTORIOGRAPHY, BY TACKLING THE THEATRICAL CULTURES FROM TIME TO TIME EXAMINED IN RELATION TO THEIR HISTORICAL CONTEXT, TO THE OPERATING MODES THAT THEY HAVE PRODUCED AND THE TRADITIONS THAT THEY HAVE CREATED.

AESTHETICS OF MUSIC (MSC DEGREE) DELOCALIZE ART MUSIC: USES AND ABUSES IN CINEMA (L-ART/07) 6UEC - APPOINTED TEACHING PROFESSOR: GIOVANNI GUANTI
PROGRAM AND AIMS OF TEACHING. MUSIC COMPOSED SPECIFICALLY FOR MOVIES AND MUSIC USED IN FILMS ALTHOUGH CREATED IN DIFFERENT ERAS, DIFFERENT CONTEXTS AND FOR DIFFERENT PURPOSES CAN BE SUBJECT OF THE SAME AESTHETIC JUDGMENT? WHAT IS CERTAIN IS THAT THIS DISPLACEMENT OR DELOCALISATION HAS SOMETIMES CAUSED A BRUTAL ALIENATION OF THE MUSIC, OTHER TIMES, A TRUE 'RENAISSANCE' OF IT, WITH THE PURCHASE OF NEW MEANINGS AND WIDER AUDIENCE. HENCE, THE NEED TO REFLECT ON CHANGES OF THE STATUTES OF "ART MUSIC" PRE-EXISTING AND SUBSEQUENT TO ITS USE IN THE CINEMA.

The course aims to provide to the students the main concept and categories of analysis for understanding the dynamics in place in the modern public sphere and the transformation of the political communication. Through the screening of videos and television programs the course aims to develop critical skills in the analysis of the audiovisual texts.