From Cartesian grammar to the pragmatics of language

The course aims to address one of the classic themes of the philosophy of language: the debate between the models inspired by the Cartesian-rationalist tradition and the theoretical perspectives that, referring to the real contexts of language use, promote a vision based on pragmatics. The aim of the course is to show how this debate has important repercussions on the theme of human nature.

- Berwick, R. ,Chomsky N. (2016) Perché solo noi: Linguaggio ed evoluzione. Torino: Bollati Boringhieri.
- Tomasello M. (2014) Unicamente Umano: storia naturale del pensiero. Bologna: Il Mulino

a) Pier Paolo Pasolini, La Divina Mimesis, Milano, Mondadori, 2019

b) Pier Paolo Pasolini, Petrolio, edited by Walter Siti, Milano, Garzanti, 2022

c) Marco Antonio Bazzocchi, Alfabeto Pasolini, Roma, Carocci, 2022

d) Vedere, Pasolini, edited by Andrea Cortellessa and Silvia De Laude, Vicenza, Ronzani, 2022; or Andrea Cortellessa, Una ragione in più per andare all’Inferno. Vedere, Pasolini, forthcoming; or Marco Belpoliti, Pasolini e il suo doppio, Milano, Guanda, 2022

e) to give a context in 20th century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, quarto volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

The course will start from Isaiah Berlin’s text on Romanticism and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001
A. Breton, Nadja, Torino, Einaudi, 2007
V. Magrelli, Profilo del dada, Roma, Laterza 2019

A PLURALISTIC MODERNITY

The course introduces to the historical developments and to the key personalities of modernist art - from the modernist avant-gardes to the 1960s -, focusing on themes such as the relationship with technology and new media (photography, cinema, television), with the political and social landscape, the natural and urban spaces, etc. The analysis of these topics will also provide the basic methodology for the study of the different media that characterize twentieth-century art, providing the critical tools necessary for the reading of different types of works of art.

Federica Rovati, L’arte del primo Novecento, Einaudi 2015
Stephen Kern, Il tempo e lo spazio, Il Mulino 2007: capitoli 4: Il futuro; 5: La velocità; 6: La natura dello spazio, pp. 117-226
Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108
Jonathan Crary, Le tecniche dell'osservatore. Visione e modernità nel XIX secolo, Einaudi 2013, capitolo 2, pp. 29-70; capitolo 4, pp. 102-142

The course aims to retrace the relationships between the artistic object and the historical environment from the avant-garde to the contemporary, in a methodological comparison between history, art theory and visual studies. Starting from the questioning of the frame in painting and the pedestal in sculpture, we will deepen the passage from the object to the environment, the escape of the artistic intervention from the spaces in charge of art from nature and into the public space - from Land Art to different practices of social participation - up to the analysis of installations and immersive environments that produce engaging and interactive physical experiences thanks to the use of new technologies.
We will focus on genealogies and theoretical questions useful to frame:
- problems related to the dematerialization of the work in time and site specific installations;
- the exhibition as an immersive device with the treatment of crucial historical moments such as the surrealist exhibitions or the exhibitions Lo Spazio dell’Immagine (Foligno, Palazzo Trinci, 1967) and Ambiente Arte. From Futurism to Body Art, curated by Germano Celant (Venice Biennale 1976);
- the dimension of spectatoriality in the transition from contemplative fruition to multisensory participation and interaction.

1) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002

2) F. Poli, F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016

3) Handout of critical texts will be made available at the end of the course.

4) Online gathering of images projected during lectures (available at the end of the course for attending and not attending).

Non attending will integrate with:
5) F. Rovati, L’arte del primo Novecento, Einaudi, Torino 2015.

The course will start from Isaiah Berlin’s text on Romanticism and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001
A. Breton, Nadja, Torino, Einaudi, 2007
V. Magrelli, Profilo del dada, Roma, Laterza 2019

- The sources and principles of entertainment law.
- The subjects operating in the entertainment world.
- The object of protection and the legal notion of art.
- Artists and labor law.
- The organization of the entertainment market and economic incentives for the sector.
- Contracts in the cinema sector.
- Contracts for theater artists.
- The contracts of the recording industry.
- The protection of copyright.
- Copyright and protection of artists in the area of new technologies.

Ask the Professor for English lectures.

The Affective in Philosophy, Psychology and Cognitive Science

The course will examine the topic of affectivity through the analysis of some philosophical classics on passions and some more recent scientific theories on emotions. The aim of the course is to investigate the problematic issues concerning human affectivity from an interdisciplinary approach, intertwining philosophy, psychology, and cognitive sciences.

Module A (6 CFU)
The program of Module A will focus on the following topics:
- Introduction to the historical-theoretical understandings of the notions of passion and emotion
- Cartesian theory of the passions
- Humean treatment of the passions
- Analysis of the theme of affectivity in philosophical thought

Module A

R. Cartesio, Le passioni dell’anima, Bompiani 2003
D. Hume, Trattato sulla natura umana, Laterza 2008, pp. 289-476
G. Baggio, G. Quinzi (a cura di), Pensare l’affettività, Rosenberg & Sellier 2021 [Introduzione, capitoli 1-3]

Recommended texts

G. Mori, Cartesio, Carocci 2010
A. Santucci, Introduzione a Hume, Laterza 2005

General introduction and fundamentals. Methods and techniques. The fieldwork.
Anthropology today: who are the others; migrations; traditional societies; societies and cultures in the globalized world.
A basic course useful to teachers, professors, and social workers.

The students will confront themselves with case studies, deepen and analyze them.

Ugo Fabietti, Vincenzo Matera, Etnografie. Scritture e rappresentazioni dell’antropologia, Carocci.

The aim of the course is to give an overview of the more relevant issues of visual culture in the frame of film and media aesthetics. In particular, the course will be focused on both historically relevant perspective and more recent topics and methodologies.
The program will be articulated around two main stages. In the first one, relevant issues of visual culture from XX century to date will be considered. In the second one, the works of Stanley Kubrick will be addressed, with a special focus on visual aesthetics.

1) Barbara Grespi, Luca Malavasi, *Dalla parte delle immagini. Temi di cultura visuale*, McGraw Hill, Milano 2022
2) Enrico Carocci (a cura di), *Stanley Kubrick*, Marsilio, Venezia 2019
3) An anthology of essays, edited by the teacher (paper materials, available at the print shop CLP, Via Giulio Rocco, 9, Rome)

The course analyses the major processes and principles of contemporary history. It introduces the method of historical research and the use of new sources. Afterwards, the attention will be focused on the history of the Italian Republic.
The first part of the course (6 hours) is devoted to the introduction of the meaning of historical knowledge, the public use of history, the value of social memory and periodizations. The second part of the course (6 hours) outlines the historical changes that lead to the contemporary age: the creation of the nation-state, industrial revolutions, social structure, "globalization". The third part of the course (22 hours) focuses on the history of: the laboratory of contemporary age (1870-1914), the age of catastrophe (1914-1945), the golden age of capitalism (1945- 1968) and the age of transition (1968-1991). The final part of the course (6 hours) will be focused on the history of Human Rights.

- An handbook of Contemporary History. A book to be chosen from:

G. Monina, F. Motta, S. Pavone, E. Taviani, "Processo Storico", vol. 3, "Dal Novecento a oggi", Torino, Loescher Editore, 2017, p. 740, € 32,90

L. Caracciolo, A. Roccucci, "Storia contemporanea. Dal mondo europeo al mondo senza centro (1848-2016)", Milano, Mondadori education, 2017, pp. 800, € 38,00

Monographic book:
G. Monina, "Diritti umani e diritti dei popoli. Il Tribunale Russel II e i regimi militari latinomamericani (1971-1976)", Roma, Carocci, 2020, € 26,00

a) Pier Paolo Pasolini, La Divina Mimesis, Milano, Mondadori, 2019

b) Pier Paolo Pasolini, Petrolio, edited by Walter Siti, Milano, Garzanti, 2022

c) Marco Antonio Bazzocchi, Alfabeto Pasolini, Roma, Carocci, 2022

d) Vedere, Pasolini, edited by Andrea Cortellessa and Silvia De Laude, Vicenza, Ronzani, 2022; or Andrea Cortellessa, Una ragione in più per andare all’Inferno. Vedere, Pasolini, forthcoming; or Marco Belpoliti, Pasolini e il suo doppio, Milano, Guanda, 2022

e) to give a context in 20th century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, quarto volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

During the workshop, the functioning systems of a cultural enterprise will be examined. The cultural enterprise will be observed from its legal point of view, studying the work standards and contractual responsibilities, especially in relation to the live performance, but also in relation with other areas of cultural production. During the lessons, the process of writing the project will be also discussed, with particular attention to the development of the ability to find public and private funding.
Organized in working groups, the workshop will examine how to draft a cultural project and aim to enable the students to explore the feasibility and sustainability of their own projects ideas under the market, organizational, and economic perspective, focusing on theatrical and cultural enterprises.

Workshop texts
Lucio Argano, Alessandro Bollo, Paolo Dalla Sega “Organizzare eventi culturali. Ideazione, progettazione e gestione strategica del pubblico” Franco Angeli 2017
Lecture notes will be given by the professor

The course analyses the major processes and principles of contemporary history. It introduces the method of historical research and the use of new sources. Afterwards, the attention will be focused on the history of the Italian Republic.
The first part of the course (6 hours) is devoted to the introduction of the meaning of historical knowledge, the public use of history, the value of social memory and periodizations. The second part of the course (6 hours) outlines the historical changes that lead to the contemporary age: the creation of the nation-state, industrial revolutions, social structure, "globalization". The third part of the course (22 hours) focuses on the history of: the laboratory of contemporary age (1870-1914), the age of catastrophe (1914-1945), the golden age of capitalism (1945- 1968) and the age of transition (1968-1991). The final part of the course (6 hours) will be focused on the history of Human Rights.

- An handbook of Contemporary History. A book to be chosen from:

G. Monina, F. Motta, S. Pavone, E. Taviani, "Processo Storico", vol. 3, "Dal Novecento a oggi", Torino, Loescher Editore, 2017, p. 740, € 32,90

L. Caracciolo, A. Roccucci, "Storia contemporanea. Dal mondo europeo al mondo senza centro (1848-2016)", Milano, Mondadori education, 2017, pp. 800, € 38,00

Monographic book:
G. Monina, "Diritti umani e diritti dei popoli. Il Tribunale Russel II e i regimi militari latinomamericani (1971-1976)", Roma, Carocci, 2020, € 26,00

The main phenomena and turning points of European history between the end of the fifteenth and the first half of the nineteenth century will be examined and critically analyzed, also in the fundamental dimension of the relations with other cultures and civilizations.

Carlo Capra, Storia moderna 1492-1848, Firenze, Le Monnier Università, 2021.
Paolo Prodi, La storia moderna, Bologna, Il Mulino, 2005.

The course aims at:
- providing the basics of sound and light physics;
- providing a historical and theoretical panorama on the nature of light, from the ancient world to modern theories and applications;
- providing a historical and theoretical panorama on the nature of sound, from the ancient world to modern theories and applications;
- illustrating the phenomena connected with generation and propagation of sound waves, with particular reference to the voice and musical instruments;
- illustrating the phenomena connected with generation and propagation of light waves, with particular reference to artificial light;
- understanding the perceptual processes of sound and light in relation to the physical aspects and the nature of the human ear and eye;
- illustrating the fundamental mechanisms which are at the base of sound and light technical applications in the entertainment field.

Material provided by the lecturer.

The course will retrace the evolution of melodrama from its origins to the early 20th century, providing students with the main tools of linguistic analysis for this highly and rigidly formalized genre. The focus will be on the linguistic habits of opera librettos: on the metric-rhythmic, syntactic-textual, lexical and dramaturgical conventions. The history of the writing of the opera will also be retraced through the reading and linguistic commentary of portions of librettos produced from the 17th to the 20th century.

— Vittorio Coletti (2017), "Da Monteverdi a Puccini. Introduzione all'opera italiana". Nuova edizione riveduta e ampliata, Torino, Einaudi.
— Ilaria Bonomi, Edoardo Buroni (2017), "La lingua dell'opera lirica", Bologna, il Mulino.
— Photocopies made available by the teacher.

Painting and Sculpture in Italy from c. 1401 to 1519 (6 CFU).

The course is intended for students of the Three-year degree and aims to offer the outlines of the development of Italian art history from the beginning of the 15th century to the death of Leonardo da Vinci, through the analysis of the work of the main artists active in Italy in these centuries, and of the pictorial languages to which they gave life. Before attending the course it may be useful to have taken the History of Medieval Art exam.
The study method will privilege the historical and stylistic reading of the art object, a visual knowledge of the works of the individual artists is therefore essential.
The course includes some introductory lectures on the methodology of the study of art history and on some general topics (e.g. the periodization of art history, the use of historical-critical categories such as the concept of Renaissance and Baroque related to style, and so on).
The course also includes in-depth examinations of the career of individual artists and the fundamental stylistic junctures in art history in the period under examination. Each year these insights may vary.
In order to follow the course and to prepare for the examination, the recommended textbook may be read and studied. It is, however, only to be considered as a first approach to the topics covered in the course, during which a specific bibliography on the individual topics will be offered. The textbook should be supplemented with knowledge of the works of the individual artists for which a bibliography will be provided during the lessons; these can also be viewed on the websites that will be indicated (in particular www.wga.hu). The video-taped lectures will only be available for one week on the Teams platform (Team History of Modern Art 2022-2023) where the slides will also be uploaded. Even more important is the direct contact with the work and the monument: the course will include Roman monuments whose visit is obligatory before taking the examination. In the middle and at the end of the course, those attending will have the opportunity to take a written exemption that will be considered as part of the final examination. Non-attending students are not required to study additional texts, but knowledge of the topics covered during the course is compulsory and it is therefore essential to obtain the slides that will be available on the Microsoft Teams platform, Team History of Modern Art 2022-2023.
Those taking the 6 CFU exam (history students, for example) may bring the syllabus for the exam from c. 1400 to c. 1519 and read one of the recommended texts included in the bibliography.

1) Suggested manual:

S. Settis – T. Montanari, Arte. Una storia naturale e civile. Dal Quattrocento alla Controriforma (vol. 3), Mondadori Editore
https://www.libreriauniversitaria.it/arte-storia-naturale-civile-licei/libro/9788828616450


2) One of the following tests is also requested:
1. M. Baxandall, Pittura ed esperienze sociali nell’Italia del Quattrocento, Torino, Einaudi 1978.

2. A. De Marchi, La pala d’altare. Dal polittico alla pala quadra, Firenze, Art & libri, 2012.

3. A. Pinelli, La bella maniera. Artisti del Cinquecento tra regola e licenza, Torino, Einaudi 2003.

4. E. Panofsky, Studi di iconologia. I temi umanistici nell’arte del Rinascimento, ed. italiana Torino, Einaudi 2009.

5. F. Zeri, Pittura e controriforma. L’arte senza tempo di Scipione da Gaeta, ed. originale, Torino, Einaudi 1957 (ristampa Neri Pozza 1997).

6. F. Haskell, Mecenati e pittori. Studio sui rapporti tra arte e società italiana nell’età barocca, Torino, Einaudi 2020 (ed. originale Firenze, Sansoni, 1966).

7. T. Montanari, Il Barocco, Torino, Einaudi 2012.

8. F. Haskell – N. Penny, L’antico nella storia del gusto: La seduzione della scultura classica 1500-1900, Torino 1984.

THE COURSE WILL ILLUSTRATE THE EVOLUTION OF THE MAIN GENRES AND FORMS OF ORCHESTRAL MUSIC FROM THE CLASSICAL TRADITION, WITH ATTENTION TO FORMAL AND AESTHETIC PRINCIPLES THAT ARE THE BASIS OF THE CATEGORIES OF ABSOLUTE MUSIC AND PROGRAM MUSIC. IN PARTICULAR, THE SYMPHONIE FANTASTIQUE BY H. BERLIOZ WILL BE ANALYZED.

SELECTED ESSAYS WHICH WILL BE COMMUNICATED AT THE BEGINNING OF THE LESSONS (AVAILABLE IN COPY SHOP IN VIA GIULIO ROCCO)

PAOLO RUSSO, SINFONIA FANTASTICA, ROMA, CAROCCI, 2008;

ADDITIONAL BOOK FOR STUDENTS WHO DO NOT ATTEND THE LESSONS:
Maynard Solomon, L’ultimo Beethoven, Roma, Carocci, 2010, pp. 43- 88, 111-121, 157-203, 241-271

LIST OF SOME MUSICAL WORKS WHICH STUDENTS HAVE TO LISTEN
Arcangelo Corelli Concerto grosso fatto per la Notte di Natale
Antonio Vivaldi Le quattro stagioni
Johann Sebastian Bach Concerti brandeburghesi nn. 3 e 4
Joseph Haydn Sinfonia n. 103
Wolfgang A. Mozart Sinfonia n. 40, Concerto per violino e orchestra K 216, concerto per pianoforte e orchestra K 488
Ludwig van Beethoven Sinfonie nn. 3, 5, 6, 7 e 9, Ouverture Coriolano, Concerto per pianoforte orchestra n. 5 "Imperatore"
Franz Schubert Sinfonia n. 8
Felix Mendelssohn Concerto per violino e orchestra. in mi minore
Nicolò Paganini Concerto per violino e orchestra n. 1 in re maggiore
Hector Berlioz Sinfonia Fantastica
Johannes Brahms Sinfonia n. 4
Franz Liszt Ce qu'on entend sur la montagne - poema sinfonico
Bedrich Smetana Poema sinfonico “La Moldava”
Piotr Ilic Cajkovsky Ouverture Romeo e Giulietta, Sinfonia n. 6
Piotr Ilic Cajkovsky Concerto per pianoforte e orchestra n. 1 in sib minore
Piotr Ilic Cajkovsky Concerto per violino e orchestra op. 35 in re maggiore
Jean Sibelius Concerto per violino e orchestra in re minore op. 47
Gustav Mahler Sinfonie nn. 1 e 5
Richard Strauss Also Sprach Zarathustra - poema sinfonico

The course aims at:
- providing the basics of sound and light physics;
- providing a historical and theoretical panorama on the nature of light, from the ancient world to modern theories and applications;
- providing a historical and theoretical panorama on the nature of sound, from the ancient world to modern theories and applications;
- illustrating the phenomena connected with generation and propagation of sound waves, with particular reference to the voice and musical instruments;
- illustrating the phenomena connected with generation and propagation of light waves, with particular reference to artificial light;
- understanding the perceptual processes of sound and light in relation to the physical aspects and the nature of the human ear and eye;
- illustrating the fundamental mechanisms which are at the base of sound and light technical applications in the entertainment field.

Material provided by the lecturer.

The course addresses the relationship between music and image focusing on some aspects of musical iconography and especially of the characteristics that this relationship assumes in audiovisual context, considering, both historically and analytically, film music. Assuming the relationship between opera and image as main theme of the course, in the first part attention will be paid of the role that image could have in the context of opera on the levels of scenography and of contemporary stage direction. Then, an investigation path will be outlined on the relationship between opera and cinema in the 20th and 21st centuries.

1. Mercedes Viale Ferrero, Vedere Tosca, in La Tosca di Puccini e Casa Ricordi, a cura di Ilaria Narici, Milano, Ricordi, 2004

2. Gerardo Guccini, La regia lirica, livello contemporaneo della regia teatrale, «Il castello di Elsinore», 62, (2010), pp. 83-104

3. A colloquio con Luca Ronconi, a cura di Giuseppe di Leva, in Giacomo Puccini, Tosca, programma di sala, Milano, Teatro alla Scala, 1997, pp. 207-211

4. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-699 e 833-911

5. Matteo Giuggioli, Le forme dell’opera nel cinema. Sull’impiego del cinematografico del “Trovatore” tra Gallone e Visconti, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 339-355

6. Gaia Varon, L’eroismo e la sconfitta. La musica di Verdi in “Noi credevamo” di Mario Martone, in Impariamo ad ascoltare la musica classica. Percorsi interdisciplinari nella storia della musica d’arte, a cura di Chiara Sintoni, Roma, Aracne, 2013, pp. 143-162

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 course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.

Bibliography:
Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Extra texts could be downloaded at the beginning of the class from Moodle.

FILMOGRAPHY:
Robert Flaherty, Nanook of the North (1922)
Dziga Vertov, L’uomo con la macchina da presa (1929)
Joris Ivens, Regen (1929)
Vittorio De Seta, Lu tempu de li pisci spata (1954)- Isole di fuoco (1954)
Autori Vari, Amore in città (episodio Storia di Caterina) (1952)
Jean Rouch-Edgar Morin, Chronique d’un été (1960).
Cecilia Mangini, Stendalì (1960)
Gianfranco Mingozzi, La taranta (1962)
Chris Marker, Sans Soleil (1982)
Alina Marazzi, Un'ora sola ti vorrei (2002)
Werner Herzog, Grizzly Man (2005)
A.Ferrente-G.Piperno, Le cose belle (2012)
Nanni Moretti, Santiago, Italia (2018)
Sara Dosa, Fire of Love (2022)

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). Non-attending students must also read David Bruni, Roberto Rossellini. Roma città aperta, Lindau, Torino 2006.

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.

TEXTS:

G.P. Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (dal cap. III in poi);

C. Uva, L'ultima spiaggia. Rive e derive del cinema italiano, Marsilio, Venezia 2021;

E. Giacovelli, C’era una volta la commedia all’italiana, Gremese, Roma 2015;

C. Uva (a cura di), Matteo Garrone, Marsilio, Venezia 2020.

FOR ERASMUS STUDENTS:
G.P. Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (dal cap. III in poi);

C. Uva, L'ultima spiaggia. Rive e derive del cinema italiano, Marsilio, Venezia 2021.


FILMOGRAPHY

Ladri di biciclette (1948) di V. De Sica; Domenica d’agosto (1950) di L. Emmer; La spiaggia (1954) di A. Lattuada; Vacanze a Ischia (1957) di M. Camerini; La dolce vita (1960) di F. Fellini; L’avventura (1960) di M. Antonioni; Accattone (1961) di P. P. Pasolini; Il sorpasso (1962) di D. Risi; La voglia matta (1962) di L. Salce; Prima della rivoluzione (1964) di B. Bertolucci; Per un pugno di dollari (1964) di S. Leone; L’ombrellone (1965) di D. Risi; Indagine su un cittadino al di sopra di ogni sospetto (1970) di E. Petri; Ferie d’agosto (1996) di P. Virzì; Ospiti (1998) di M. Garrone, Estate romana (2000) di M. Garrone, L'imbalsamatore (2002) di M. Garrone, Reality (2012) di M. Garrone, Il racconto dei racconti - Tale of Tales (2015) di M. Garrone.

This course is divided into two parts: a common part (18 hours) consisting in common lessons about Agenda 2030 and the Sustainable Development Goals, its strcture and contents; and the second, specific part (18 hours), tackling current trends and issues on environment, sustainable development, cultural practices in public spaces and performing arts.

For the common part:
report on one or more lectures selected from the program.

For the specific part:
Teatri Luoghi Città, a c. di R. Guarino, Edizioni Officina, 2008.
M. de Certeau, The invention of daily life.

Study meetings and workshop meetings dedicated to specific areas of puppetry framed by scholars, artists and teachers both from the point of view of historiography and from that of current stage practice. The aim is to examine, also from a practical point of view, the "living" reality of puppetry.

ATTENDING STUDENTS
(to be considered attending the student can not make more than 2 absences)
1) Alfonso Cipolla, Giovanni Moretti, "Storia dei burattini e delle marionette in Italia", Corazzano, Titivillus, 2011

2) Mariano Dolci, Vito Minoia, "Il burattino sulla scena educativa", Urbino, Edizioni Nuove Catarsi, 2020 (per informazioni sulla distribuzione del volume si rimanda al sito www.edizioninuovecatarsi.org)

3) Bruno Leone, "Le guarattelle. Vita di un burattinaio", Napoli, Monitor, 2022 (per informazioni sulla distribuzione del volume si rimanda al sito https://napolimonitor.it/le-guarattelle/)

3) other materials to AGREE WITH THE TEACHER during the lessons (it will be possible to diversify the study topics by choosing among the topics covered in the lesson)

NON ATTENDING STUDENTS
1) Alfonso Cipolla, "Giovanni Moretti, Storia dei burattini e delle marionette in Italia", Corazzano, Titivillus, 2011

2) Mariano Dolci, Vito Minoia," Il burattino sulla scena educativa", Urbino, Edizioni Nuove Catarsi, 2020 (per informazioni sulla distribuzione del volume si rimanda al sito www.edizioninuovecatarsi.org)

3) Bruno Leone, Le guarattelle. Vita di un burattinaio, Napoli, Monitor, 2022 (per informazioni sulla distribuzione del volume si rimanda al sito https://napolimonitor.it/le-guarattelle/)

3a) video: BRUNO LEONE e GIORGIO AGAMBEN, Sulla filosofia di Pulcinella [https://youtu.be/ySrmOxieVVQ]

4) Giorgio Agamben, "Pulcinella ovvero Divertimento per li regazzi", Roma, ed. nottetempo, edizione aggiornata del 2016

Elements of music theory: rhythm and meter, notation, elements of tonal harmony (scales, chords) with practical examples and listenings;
Acoustic and musical psychoacoustics; digital representation of sound; elaborations and experiments on sound objects through the use of editing software;
Musical composition through the acquired techniques;
Fundamentals of sound synthesis systems and sampling techniques; elements of electroacoustic, electronic and computer-digital music

Texts and handouts will be made available, together with their list, during the Lab

This course first settles the framework of the theoretical and methodological aspects of the history of food cultures. In particular, the class will focus on the economic, cultural, and social features that have marked the imaginary and the use of food in the contemporary age.
The first part of the course (6 hours) is devoted to the introduction of the theoretical and methodological aspects of cultural history and the history of material cultures. The second part of the course (6 hours) addresses the long-term historical changes of agriculture in the contemporary age. The third part of the course (18 hours) is concerned with the history of Italian food culture with particular attention to Mediterranean food cultures. The fourth part of the course (6 hours) is focused on three aspects on the cultural relations between food and society: food and the environment, food and inequalities, food and religions.

Main reference text:

Alberto Capatti e Massimo Montanari, La cucina italiana. Storia di una cultura, Roma-Bari, Laterza 2017, 424 p., € 14,00.

A book to be chosen from:


Piero Bevilacqua, Il cibo e la terra. Agricoltura, ambiente e salute negli scenari del nuovo millennio, Roma, Donzelli, 2018, 215 pp., € 11,00.

Alberto De Bernardi, Il paese dei maccheroni. Storia sociale della pasta, Roma, Donzelli, 2019, 262 pp., € 30,00.

Massimo Montanari (a cura di), Cucina politica. Il linguaggio del cibo fra pratiche sociali e rappresentazioni ideologiche, Bari-Roma, Laterza, 2021, 328 pp., € 19,00

Students will be able to learn about the most important themes of the relationship between Ethics and Aesthetics through the analysis of some passages from the works of Plato, Aristotle, Bruno, Shakespeare, Kant, Hegel, Nietzsche, Heidegger, Blumenberg.
They will deepen the concept of "punishment" and "social reintegration" of the deviant, according to Article 27 of the Constitution of the Italian Republic.
Through watching films and docs they will understand the impact of art in the prison context.
They will participate in the theatrical rehearsals at the Rebibbia Prison's Theater.

Some literary works may be suggested to the students during the workshop

Light and the Place
The workshop introduces the participants to the criteria and methods of the "theatre of places", a project related to the creation of theatrical and installation works starting from the specific characters of the sites. In this project the characters of the site become generative with respect to the performance. The texts, the actions, the movement take shape during the preparatory work carried out on the spot, on the basis of the suggestions collected in it and the reading of the pre-existing elements and relationships. The workshop will be introduced, on the first day, by a theoretical meeting on the project, with audiovisual supports, and related discussions. In the two following days it will put the participants, divided into groups, in the condition of experiencing the possible relationships with the space, with the elaboration of short actions and interventions, which assume the place as an ordering principle: the last two days will be dedicated to the “montage” of the actions. Particular emphasis will be given to the role played by light in the process

Optional:
Fabrizio Crisafulli, Il teatro dei luoghi. Lo spettacolo generato dalla realtà, Dublin: Artdigiland 2015
Fabrizio Crisafulli, Active Light. Issues of Light in Contemporary Theatre, Dublin: Artdigiland 2013

The workshop is organized as a mixed pedagogical setting that alternates stage practice with historical reflection, aiming to provide some of the tools and principles that lead to developing a certain quality of stage presence. Presence of the feet, of the voice and of the body intended as body-mind. The chosen theoretical analysis and practice follow paths that converge in the same terrain where are rooted the principles of Theatre Anthropology as identified by Eugenio Barba during the sessions of the International School of Theatre Anthropology (ISTA). Our research will focus on pursuing the discovery of the three levels of dramaturgy: organic, narrative, and evocative. The workshop will be shaped firstly along the guidelines of the training, specifically psychophysical training – the work on oneself based on exercises from eastern and western stage crafts. Within this, focus will be given to the work on rhythm and rhythmic actions, that is actions generated in reaction to an external impulse, e.g. music; other key points will be the work on intentions, on body communication, and on the differences between choral voice and individual voice).
Second guideline of the workshop will be improvisation as in the meaning given by Stanislavsky, relating to the construction of a character.
Finally, the work will be completed along the third guideline of research on the score, intended as a construction of individual and/or group materials based on the play Blood Wedding. The score will also serve as process for approaching the concept of physical and vocal stage dialogue, the principle of action-reaction and a certain quality of listening, psychophysical as well.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
The transmission and learning of any technique means learning a way to stand in life. A path. A way to breathe and to resist. A way to measure oneself against one's limits and a way to look for ways to overcome them.

Federico García Lorca Bodas de sangre (Blood Wedding): Nozze di sangue (Einaudi editore, translation by Vittorio Bodini, ISBN 9788806069650)

How do you write a television format? How do you analyze a program created from a format? What is the relationship between format and TV genres? Do the formats also work for seriality? Why do people watch the same programs all over the world, from The Wheel of Fortune to Masterchef, from All you need is love to LOL? In the laboratory these questions will be addressed, with constant reference to the international television production. The laboratory provides practice in writing a paper format and the running order of a Tv Show.

Fiacco, Axel, Unscripted Formats. Teoria e pratica dei programmi televisivi globali. Castelvecchi, 2021

The workshop aims to introduce the students to practice and ideas related to digital arts. After an historical and theoretical introduction on digital culture, with a focus on the relationship between cinema, performance and media, students will practice some artistic techniques and languages in order to design, develop and present a project of digital arts with the guidance and assistance of the professor.

- Catricalà Valentino, «Prospettive delle arti nel XXI secolo. Storie, teorie, preservazione», Mimesis, 2016
- Bolter Jay D., Plenitudine Digitale, MininumFax, 2020.
- Parikka Jussi, «What is Media Archeology?», Polity Press, 2012.
- Legacy Russell, Glitch Feminism. A Manifesto, New York, Verso, 2020.

The aim of the course is to provide basic knowledge concerning the screenwriting, including some theoretical and practical aspects and points of view; also to familiarize with the different steps of the process of a script / film project, understanding the specificities of writing for a movie in its diversity from literature and theatre.
The course proposes to highlight some moments of a screenplay in a critical and constructive way.
Practical work focuses on: thematic idea (high/ low concept), synopsis ( max 5 lines), subject, characters (protagonist, antagonist), obstacles and choices, step outline for three acts, first and second draft of a treatment.

Titolo: Story – Contenuti, struttura, stile, principi per la sceneggiatura e per l’arte di scrivere storie
ISBN-10: 8896450039
ISBN-13: 9788896450031
Autore: Robert McKee
Collana: Scrittura creativa
Editore: Omero
Titolo: Manuale di sceneggiatura cinematografica
Sottotitolo: Teoria e pratica
ISBN-10: 8860081416
ISBN-13: 9788860081414
Autore: Luca Aimeri
Collana: Collana di cinema
Editore: UTET
Titolo: La sceneggiatura
Sottotitolo: Il film sulla carta
ISBN-10: 8885838634
ISBN-13: 9788885838635
Autore: Syd Field
Collana: Istruzioni per l’uso
Editore: Lupetti
Titolo: Save the cat! Manuale di sceneggiatura
ISBN-10: 8896450195
ISBN-13: 9788896450192
Autore: Blake Snyder
Collana: Scrittura creativa
Editore: Omero
Titolo: Scriviamo un film – Manuale di sceneggiatura
ISBN-10: 884282058X
ISBN-13: 9788842820581
Autore: Age
Collana: La piccola cultura
Editore: Il Saggiatore
Titolo: Come scrivere una grande sceneggiatura
ISBN-10: 8875271518
ISBN-13: 9788875271510
Autore: Linda Seger
Collana: Manuali di Script
Editore: Audino
Titolo: L’arco di trasformazione del personaggio
ISBN-10: 887527018X
ISBN-13: 9788875270186
Autore: Dara Marks
Editore: Audino


I tre usi del coltello. Saggi e lezioni sul cinema
di David Mamet (Autore), F. Abbinante (Traduttore)
Consigli a un giovane scrittore
di Vincenzo Cerami
La sceneggiatura. Un testo dall'esistenza incerta
di Daniela Ceselli ( Le Lettere)

Altri testi David Howard, Dara Marks, Snider presenti in Biblioteca

AA.VV., L’analisi del racconto, Bompiani, Milano, 1984
AA.VV., L’Enejeu Scénario, “Cahiers du cinema “, numéro spécial 371/372, maggio 1985
Calvino Italo, Lezioni americane, Mondadori, Milano, 1993

There is no default program. the lessons will be based on the students and their abilities

No texts are needed.
listening to the podcast is recommended:
https://www.raiplaysound.it/programmi/ioeroilmilanese

The course pursues various objectives that will therefore constitute the heart of the educational program:
- Provide basic knowledge on the history and social and cultural role of photography, defining in particular how it has changed the world of art, the perception of history and its own narration; how it has changed tourism, travel, sociability, the narration of private or historical events and much more
- Get to know some great authors of the history of photography with the dual purpose of exploring aesthetics and style, as well as understanding some rules of composition and how the photographic error or the betrayal of the rules has generated exceptional works of art.
- Define some characteristics of the photographer's profession, with references to the profession linked to it in the world of cinema: the cinematography.
- Stimulate the gaze and photographic creativity
- Learn the main composition rules
- Learn how to use a professional camera in its basic functions in manual mode. It is specified that it will be possible to shoot with any type of photographic device, from the mobile device (smartphone or tablet) to the reflex or mirrorless digital, as well as with analog devices (for which we will digitize).
- Introduction to digital editing. We will analyze the basic tools of the main editing programs (Photoshop, Lightroom and others).

Calendar of activities:

Lesson 1
Presentation
The birth and main uses of photography
Some great photographers

Lesson 2
The optics
Focus
Introduction to the concept of depth of field
Review of images proposed by students

Lesson 3
Focus on Direction of photography
Some great cinematographers
The knowledge of optics, films, machines, but above all imagination and creativity

Lesson 4
Review of student shots on optics
Exposure: ISO, times, apertures
The exposure meters

Lesson 5
Review of student exercises on display
Play with photography
Train creativity
Train your eyes

Lesson 6
The depth of field
The main rules of composition
Review of student proposals on Photographers (and Cinematographer)

Lesson 7
Review shots of students on depth of field
Introduction to digital editing
Review of student proposals on Photographers (and Cinematographer)

Lesson 8
Making a photographic project
Introduction to digital editing

Lesson 9
Review of students' photographic projects
Assistance with photo editing

Lesson 10
Review of students' photographic projects
Assistance with photo editing

Lesson 11
Review and comment on students' photographic projects

Lesson 12
Presentation of photographic projects
How to cultivate a passion for photography in Rome and elsewhere

There are no mandatory books

Programma delle lezioni

lezioni ORGANIZZAZIONE E GESTIONE DELL’IMPRESA CINEMATOGRAFICA E AUDIOVISIVA
1 Elementi di economia del cinema e dell’audiovisivo/ Elements of cinema and audiovisual economics

2 Il Valore del Tempo/ The Value of Time

3 Gli Impatti Macroeconomici/ The Macroeconomic Impacts

4 La Produzione e le sue quattro fasi/ Production and its four phases

5 La filiera Cinematografica/ The Cinematographic supply chain

6 La Produzione e le sue fasi/ Production and its phases

7 La Distribuzione/ The distribution

8 L’esercizio cinematografico/ The theatrical

9 La catena del valore/ The value chain

10 Il rischio e i fattori di successo/ The risk and success factors

11 Il Marketing del film/ The Marketing of the film

12 Cinema e Big Data/ Cinema and Big Data

https://www.ibs.it/energia-management-finanza-dell-impresa-ebook-giandomenico-celata-rossella-gaudio/e/9788828316428
the printed copies are available at the Odradek bookstore, via dei banchi vecchi 57

for Erasmus students: for information on the course and exam methods, contact prof. Celata
gianni.celata@uniroma3.it

Theme of this year's course: Making home in mobility.

Ways and forms of how people "build" their lives.
Biographical paths, individual paths and collective exchanges.
Individual strategies and social organization.
Perfomative systems: from subjectivity to community.

1. A textbook for the general part:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori, 2015.

2. The monographic part includes:
Stefano De Matteis, La forza della vulnerabilità, Milano, Meltemi.
Giuseppe Grimaldi. Fuorigioco. Figli di migranti e italianità. Un’etnografia tra Milano, Addis Abeba e Londra. Ombre corte, Verona, 2022.
Andrea Staid, Essere natura. Uno sguardo antropologico per cambiare il nostro rapporto con l'ambiente, UTET, 2022.

The Affective in Philosophy, Psychology and Cognitive Science

The course will examine the topic of affectivity through the analysis of some philosophical classics on passions and some more recent scientific theories on emotions. The aim of the course is to investigate the problematic issues concerning human affectivity from an interdisciplinary approach, intertwining philosophy, psychology, and cognitive sciences.

Module A (6 CFU)
The program of Module A will focus on the following topics:
- Introduction to the historical-theoretical understandings of the notions of passion and emotion
- Cartesian theory of the passions
- Humean treatment of the passions
- Analysis of the theme of affectivity in philosophical thought

Module A

R. Cartesio, Le passioni dell’anima, Bompiani 2003
D. Hume, Trattato sulla natura umana, Laterza 2008, pp. 289-476
G. Baggio, G. Quinzi (a cura di), Pensare l’affettività, Rosenberg & Sellier 2021 [Introduzione, capitoli 1-3]

Recommended texts

G. Mori, Cartesio, Carocci 2010
A. Santucci, Introduzione a Hume, Laterza 2005

The course develops methodological skills in order to undertake research in the field of communication studies and social sciences. The first part of the course will examine the methodological framework for the study of culture and communication. The main stages and strategies of the field research, with particular emphasis on the ethnographic method, will be explored during the second part.

Wendy Griswold (2009), Un framework metodologico per lo studio della cultura, in M. Santoro, R. Sassatellin(a cura di), Studiare la cultura. Nuove prospettive sociologiche, Il Mulino, Bologna, pp. 253-285
Giampietro Gobo (2001), Descrivere il mondo. Teoria e pratica del metodo etnografico in sociologia, Carocci, Roma

Historical route:
• Between Renaissance and Baroque: sacred and secular vocal music; debut of instrumental music
• The seventeenth century: the new vocal music; locations and instrumentals; development of musical instruments
• Between the seventeenth and eighteenth centuries: the development of the orchestra, organic and executive practices; church music and chamber music
• The Full Eighteenth Century: evolution of instrumentals and techniques; main European musical centers (Paris, London, Vienna) and concert institutions; the musical professions
• 19th century: concert activities; virtuosos and the new concept of performance; from composer-performer to performer; Salonmusik and amateur performance
• The twentieth century: the repertoire of "classics" and concert life; new music and new modes of performance; sound technologies and performance
Focus:
• From harpsichord to piano: technological and technical evolution; composers and performers

Musica e società, 2: Dal 1640 al 1830, a cura di Paolo Fabbri, Alessandro Roccatagliati e Paolo Russo, Lucca, LIM, 2019 (selected parts)
Musica e società, 3: dal 1830 al 2000, a cura di Virgilio Bernardoni e Paolo Fabbri, Lucca, LIM, 2016 (selected parts)
Musiche nella storia. Dall’età di Dante alla Grande Guerra, a cura di Andrea Chegai, Franco Piperno, Antonio Rostagno, Emanuele Senici, Roma, Carocci, 2017 (selected parts)
ANTHONY BAINES, Storia degli strumenti musicali, Milano, Rizzoli, Milano, Rizzoli, 1995 (selected parts)

Central and privileged object of the history of traditional art, the human figure has undergone, especially in the last forty years, an iconic and cultural modification, reconfiguring itself through the body-screen relationship, which redefines the theories and expressive practices acquired by the system of media and contemporary arts. The course aims to analyze the prevailing relationships between the human figure and statuary, tracing an iconographic mapping of the most recent and significant representations of the body in the field of artistic experimentation: from underground and artist cinema to photography, from sculpture to performance, to video art. Using a versatile methodology that combines visual and cultural studies with the theories of media and plastic arts, we want to reflect on some characteristic figurations of contemporary bodies and on their processes and representative models. The focus of interest is linked to the widespread and pervasive role that media devices and their extensions and technological applications have taken on our perceptual, iconographic and identity regimes.

Giacomo Ravesi, Le maschere di Dioniso. Figure del corpo tra arti visive, media e tecnologia, Armando, Roma 2021.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

For non-attendance students:
Roy Menarini, Il corpo nel cinema. Storie, simboli e immaginari, Pearson Italia/Bruno Mondadori, Milano, 2015.

FILM AND VIDEOGRAPHY:
Feature films: David Cronenberg, Videodrome (1983); Jan Švankmajer, Spiklenci slasti (Cospiratori del piacere, 1996); Matthew Barney, The Cremaster Cycle (1994-2002).
Anthology of avant-garde and underground films: Jean Cocteau, Fernand Léger, Luis Buñuel, Jean Genet, Maya Deren, Andy Warhol, Kenneth Anger, Jack Smith, Barbara Hammer, Jan Švankmajer, Alberto Grifi.
Anthology of videoart: Nam June Paik, Gianni Toti, Tony Oursler, Gary Hill, Orlan, Zbigniew Rybczynski, Mariko Mori, Studio Azzurro, Stephen e Timothy Quay, Chris Landreth, Bériou, Char Davies, Leonardo Carrano, Egbert Mittelstädt, Kouhei Nakama, Andrew Thomas Huang, Francesca Fini, Alessandro Amaducci, Igor Imhoff, Alessandro Bavari, Beatrice Pucci, Rita Casdia, Donato Sansone.
Anthology of music-videos: Lady Gaga, Bjӧrk, Madonna, Marilyn Manson, Tool.
Films and videos will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

Theme of this year's course: Making home in mobility.

Ways and forms of how people "build" their lives.
Biographical paths, individual paths and collective exchanges.
Individual strategies and social organization.
Perfomative systems: from subjectivity to community.

1. A textbook for the general part:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori, 2015.

2. The monographic part includes:
Stefano De Matteis, La forza della vulnerabilità, Milano, Meltemi.
Giuseppe Grimaldi. Fuorigioco. Figli di migranti e italianità. Un’etnografia tra Milano, Addis Abeba e Londra. Ombre corte, Verona, 2022.
Andrea Staid, Essere natura. Uno sguardo antropologico per cambiare il nostro rapporto con l'ambiente, UTET, 2022.

The course will start from Isaiah Berlin’s text on Romanticism and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001
A. Breton, Nadja, Torino, Einaudi, 2007
V. Magrelli, Profilo del dada, Roma, Laterza 2019

From Cartesian grammar to the pragmatics of language

The course aims to address one of the classic themes of the philosophy of language: the debate between the models inspired by the Cartesian-rationalist tradition and the theoretical perspectives that, referring to the real contexts of language use, promote a vision based on pragmatics. The aim of the course is to show how this debate has important repercussions on the theme of human nature.

- Berwick, R. ,Chomsky N. (2016) Perché solo noi: Linguaggio ed evoluzione. Torino: Bollati Boringhieri.
- Tomasello M. (2014) Unicamente Umano: storia naturale del pensiero. Bologna: Il Mulino

The Affective in Philosophy, Psychology and Cognitive Science

The course will examine the topic of affectivity through the analysis of some philosophical classics on passions and some more recent scientific theories on emotions. The aim of the course is to investigate the problematic issues concerning human affectivity from an interdisciplinary approach, intertwining philosophy, psychology, and cognitive sciences.

Module A (6 CFU)
The program of Module A will focus on the following topics:
- Introduction to the historical-theoretical understandings of the notions of passion and emotion
- Cartesian theory of the passions
- Humean treatment of the passions
- Analysis of the theme of affectivity in philosophical thought

Module A

R. Cartesio, Le passioni dell’anima, Bompiani 2003
D. Hume, Trattato sulla natura umana, Laterza 2008, pp. 289-476
G. Baggio, G. Quinzi (a cura di), Pensare l’affettività, Rosenberg & Sellier 2021 [Introduzione, capitoli 1-3]

Recommended texts

G. Mori, Cartesio, Carocci 2010
A. Santucci, Introduzione a Hume, Laterza 2005

Elements of music theory: rhythm and meter, notation, elements of tonal harmony (scales, chords) with practical examples and listenings;
Acoustic and musical psychoacoustics; digital representation of sound; elaborations and experiments on sound objects through the use of editing software;
Musical composition through the acquired techniques;
Fundamentals of sound synthesis systems and sampling techniques; elements of electroacoustic, electronic and computer-digital music

Texts and handouts will be made available, together with their list, during the Lab

Programma delle lezioni

lezioni ORGANIZZAZIONE E GESTIONE DELL’IMPRESA CINEMATOGRAFICA E AUDIOVISIVA
1 Elementi di economia del cinema e dell’audiovisivo/ Elements of cinema and audiovisual economics

2 Il Valore del Tempo/ The Value of Time

3 Gli Impatti Macroeconomici/ The Macroeconomic Impacts

4 La Produzione e le sue quattro fasi/ Production and its four phases

5 La filiera Cinematografica/ The Cinematographic supply chain

6 La Produzione e le sue fasi/ Production and its phases

7 La Distribuzione/ The distribution

8 L’esercizio cinematografico/ The theatrical

9 La catena del valore/ The value chain

10 Il rischio e i fattori di successo/ The risk and success factors

11 Il Marketing del film/ The Marketing of the film

12 Cinema e Big Data/ Cinema and Big Data

https://www.ibs.it/energia-management-finanza-dell-impresa-ebook-giandomenico-celata-rossella-gaudio/e/9788828316428
the printed copies are available at the Odradek bookstore, via dei banchi vecchi 57

for Erasmus students: for information on the course and exam methods, contact prof. Celata
gianni.celata@uniroma3.it

The course develops methodological skills in order to undertake research in the field of communication studies and social sciences. The first part of the course will examine the methodological framework for the study of culture and communication. The main stages and strategies of the field research, with particular emphasis on the ethnographic method, will be explored during the second part.

Wendy Griswold (2009), Un framework metodologico per lo studio della cultura, in M. Santoro, R. Sassatellin(a cura di), Studiare la cultura. Nuove prospettive sociologiche, Il Mulino, Bologna, pp. 253-285
Giampietro Gobo (2001), Descrivere il mondo. Teoria e pratica del metodo etnografico in sociologia, Carocci, Roma

The course aims to pinpoint and analyze the main tendencies of the contemporary audiovisual fiction narrative, addressing hegemonic imaginaries as well as the subversive trajectories delineated by film and television series in Europe and the United States.
The course addresses in particular transnational narratives in film and postcolonialism/globalization; audiovisual aesthetics, subjectivity and gender identity; complex television, serial narratives, and transmedia storytelling.
The final syllabus will be published online at https://ilariaadepascalis.wordpress.com/informazioni-generali/

Ilaria A. De Pascalis, "Il cinema europeo contemporaneo: scenari transnazionali, immaginari globali", Bulzoni, Roma 2015.

Collection of essays.

The final syllabus, with the complete bibliography and filmography and all the information about the course, will be available online on the teacher's website https://ilariaadepascalis.wordpress.com/

January 9, 2023
Choice of the point of view to adopt to tell the character.
How to proceed in the drafting of a screenplay-treatment for documentary cinema and exercises with viewing of extracts from a selection of documentary films.
The different methodologies to be adopted to make a documentary film with respect to the subjects and their stories: the more analytical approach to study and in-depth knowledge of
character before the start of filming and the more direct approach to discovering the character and the story together with the camera. Exercises starting from the stories
identified by the participants.

January 10, 2023
On the basis of the point of view adopted and the language used, choice of the technical equipment, sound and crew necessary for the making of the documentary film.
Shooting techniques: formats, objectives, and accessories. Practical exercises are foreseen starting from the loglines sent by the students.

January 11, 2023
Shooting: handheld camera, tripod and steadycam. How, why and when to use them. Practical exercises are foreseen.
The scenes, how to set up the shots and why. Cuts and shots.
The cinematic sequences, how to approach them and which grammar to use. Expressive choices and aesthetic choices.

January 12, 2023
The sound, between shooting, editing and audio mixing.
Montage: what it is and how to deal with it. From the choice and line-up of materials, to the real rewriting and research of dramaturgy through images.
Post-production, music, titles and effects. The invisible importance of careful finalization.

January 13, 2023
Final reflections on the subjects proposed by the students and on the project sheet developed by each during the workshop, in preparation for the exercises to be carried out in
view of eligibility.

1) Italo Calvino, Lezioni americane.
2) Walter Murch, In un batter d'occhi. Una prospettiva sul montaggio cinematografico nell'era digitale.
3) Ivelise Perniola, L'era postdocumentaria.

After the presentation of the theoretical elements about filmmaking (pre-production, production and post-production), the students will perform some laboratory exercises, measuring with the difficulties proposed by the various production phases.

There is not a course book.

The class includes a brief historical excursus of documentary films.
Afterwards there will be a selection of subjects proposed by the students.
The selected subjects will be realized in individual or group works.

No limit of duration and setting.

Maximum number of class participants: 30 people.

Mandatory attendance. Will not be consented more than 2 non-justified absences.

Recommended books:

- Gianfranco Pannone. "È reale? Guida empatica del cinedocumentarista". Artdigiland, 2021.

- Lorenzo Hendel. "Il documentario narrativo. Come inventare una storia vera". Dino Audino. 2021.
- Simone Aleandri, Roberto Moliterni "Fare un documentario. Scrivere, girare e produrre cinema del reale". Dino Audino. 2020.

Recommended books:

- Gianfranco Pannone. È reale?: Guida empatica del cinedocumentarista. Artdigiland, 2021.

- Lorenzo Hendel. "Il documentario narrativo. Come inventare una storia vera". Dino Audino. 2021.

The laboratory will be divided into two floors;

a) a theoretical one, with the 2 dramaturgical and cinematographic models of the course:

- THE STRUCTURE IN THREE ACTS (which sinks into Freudian psychology)

- THE HERO'S JOURNEY BY C. VOGLER (which sinks into Jungian psychology)

b) a practical one, as we pass from the IDEATION, from the CUE that ignited the initial IDEA, to the SUBJECT (which is THE STRUCTURED IDEA, THE PUTTING IN HISTORY OF THE CUE), to the LINEUP (the articulation of the main movements of the dramaturgy, the definition of the main NARRATIVE BLOCKS), to THE TREATMENT (the full-text EXPLORATION of the narrative universe, closer to the novel: where do the scenes happen? What does the protagonist think? It investigates in depth; the characters objectify themselves other than us: they are alive and autonomous. We understand the MENTAL HORIZON OF THE CHARACTERS), to the SCREENPLAY (all scenes, scene by scene: what happens there, the characters, its meaning. It is the "PLACE" where we work properly on the definition of the film. Dialogues, images, rhythm, psychology of the characters, narrative arcs here find their fulfillment before shooting).

Course texts: "Il viaggio dell'eroe", Chris Vogler, Dino Audino Editore, Roma 2005 / "Story. The art of writing stories", Robert McKee, Omero editore, Rome 2018.
Recommended text: "Consigli a un giovane scrittore", Vincenzo cerami, Garzanti, Milano 2002.

The workshop deals with the followings themes
distribution of cinematographic and audiovisual products, froma legal, economic and marketing point of view
the role of digital networks (OTT) in product financing and promotion.
Theatrical market
Identities ad goals of Cinema Festivals
Alternative network of cultural associations
Broadcast programming

The bibliography will be provided during the lessons

1. Legal protection of the creative act. 2. Requirements for the protection of intellectual products such as intellectual works. 3. Rights to copyright: analysis of rights and main characteristics. 4. Moral rights: analysis and main characteristics. 5. Copyright and related rights. 6. Author and artist/interpreter/performer. 7. Cinematographic work, musical work and theater play. 8. The music publisher and the phonogram producer. 9. Producer of cinematographic and assimilated products. 10. Commercialization of cinematographic and assimilated products. 11. The theater manager. 12. Analysis of the main contracts in the sector. 13. The mediator bodies of copyright and related rights.

Entertainment Law of A. Miccichè - Artemide Editions, only chapters below indicated:

Chapter 5: all excluded; chapter 6: all excluded; chapter 7: include only form 7.1 to 7.10, avoid all the rest; chapter 8: all excluded; chapter 9: all excluded; chapter 10: exclude only 10.10, consider all the rest; chapter 11: exclude only 11.6, consider all the rest; chapter 13: exclude only 13.33 consider all the rest; chapter 14: exclude only 14.25 and 14.27 consider all the rest; chapter 15: consider only 15.1 and 15.2, exclude all the rest; chapter 16: exclude only 16.19 and 16.20 consider all the rest.

The course will retrace the evolution of melodrama from its origins to the early 20th century, providing students with the main tools of linguistic analysis for this highly and rigidly formalized genre. The focus will be on the linguistic habits of opera librettos: on the metric-rhythmic, syntactic-textual, lexical and dramaturgical conventions. The history of the writing of the opera will also be retraced through the reading and linguistic commentary of portions of librettos produced from the 17th to the 20th century.

— Vittorio Coletti (2017), "Da Monteverdi a Puccini. Introduzione all'opera italiana". Nuova edizione riveduta e ampliata, Torino, Einaudi.
— Ilaria Bonomi, Edoardo Buroni (2017), "La lingua dell'opera lirica", Bologna, il Mulino.
— Photocopies made available by the teacher.

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 course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.

Bibliography:
Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Extra texts could be downloaded at the beginning of the class from Moodle.

FILMOGRAPHY:
Robert Flaherty, Nanook of the North (1922)
Dziga Vertov, L’uomo con la macchina da presa (1929)
Joris Ivens, Regen (1929)
Vittorio De Seta, Lu tempu de li pisci spata (1954)- Isole di fuoco (1954)
Autori Vari, Amore in città (episodio Storia di Caterina) (1952)
Jean Rouch-Edgar Morin, Chronique d’un été (1960).
Cecilia Mangini, Stendalì (1960)
Gianfranco Mingozzi, La taranta (1962)
Chris Marker, Sans Soleil (1982)
Alina Marazzi, Un'ora sola ti vorrei (2002)
Werner Herzog, Grizzly Man (2005)
A.Ferrente-G.Piperno, Le cose belle (2012)
Nanni Moretti, Santiago, Italia (2018)
Sara Dosa, Fire of Love (2022)

The course aims at:
- providing the basics of sound and light physics;
- providing a historical and theoretical panorama on the nature of light, from the ancient world to modern theories and applications;
- providing a historical and theoretical panorama on the nature of sound, from the ancient world to modern theories and applications;
- illustrating the phenomena connected with generation and propagation of sound waves, with particular reference to the voice and musical instruments;
- illustrating the phenomena connected with generation and propagation of light waves, with particular reference to artificial light;
- understanding the perceptual processes of sound and light in relation to the physical aspects and the nature of the human ear and eye;
- illustrating the fundamental mechanisms which are at the base of sound and light technical applications in the entertainment field.

Material provided by the lecturer.

1) Between the world wars and the oceans: the "Lost Generation".
"The last tycoon", Francis Scott Fitzgerald (To Episode 11 included)
"The Autobiography of Alice B. Toklas", Gertrude Stein (Chapter 7, plus passages discussed in class)
"Midnight in Paris", Woody Allen

2) The Fifties
"Death of a Salesman", Arthur Miller

3) Postmodernism
"White Noise" Don DeLillo (Third Part, plus passages discussed in class)
"Recitatif", Toni Morrison

4) Post-postmodernism e the contemporaneity
"E Unibus Pluram: television ans U.S. fiction", David Foster Wallace
"Citizen, An American Lyric", Claudia Rankine

"The Last Tycoon", Francis Scott Fitzgerald, any edition
"White Noise", Don DeLillo, any edition
"Citizen, An American Lyric", Claudia Rankine, Graywolf, 2014
The other texts will be provided by the professor

The course will retrace the evolution of melodrama from its origins to the early 20th century, providing students with the main tools of linguistic analysis for this highly and rigidly formalized genre. The focus will be on the linguistic habits of opera librettos: on the metric-rhythmic, syntactic-textual, lexical and dramaturgical conventions. The history of the writing of the opera will also be retraced through the reading and linguistic commentary of portions of librettos produced from the 17th to the 20th century.

— Vittorio Coletti (2017), "Da Monteverdi a Puccini. Introduzione all'opera italiana". Nuova edizione riveduta e ampliata, Torino, Einaudi.
— Ilaria Bonomi, Edoardo Buroni (2017), "La lingua dell'opera lirica", Bologna, il Mulino.
— Photocopies made available by the teacher.

The course addresses the relationship between music and image focusing on some aspects of musical iconography and especially of the characteristics that this relationship assumes in audiovisual context, considering, both historically and analytically, film music. Assuming the relationship between opera and image as main theme of the course, in the first part attention will be paid of the role that image could have in the context of opera on the levels of scenography and of contemporary stage direction. Then, an investigation path will be outlined on the relationship between opera and cinema in the 20th and 21st centuries.

1. Mercedes Viale Ferrero, Vedere Tosca, in La Tosca di Puccini e Casa Ricordi, a cura di Ilaria Narici, Milano, Ricordi, 2004

2. Gerardo Guccini, La regia lirica, livello contemporaneo della regia teatrale, «Il castello di Elsinore», 62, (2010), pp. 83-104

3. A colloquio con Luca Ronconi, a cura di Giuseppe di Leva, in Giacomo Puccini, Tosca, programma di sala, Milano, Teatro alla Scala, 1997, pp. 207-211

4. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-699 e 833-911

5. Matteo Giuggioli, Le forme dell’opera nel cinema. Sull’impiego del cinematografico del “Trovatore” tra Gallone e Visconti, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 339-355

6. Gaia Varon, L’eroismo e la sconfitta. La musica di Verdi in “Noi credevamo” di Mario Martone, in Impariamo ad ascoltare la musica classica. Percorsi interdisciplinari nella storia della musica d’arte, a cura di Chiara Sintoni, Roma, Aracne, 2013, pp. 143-162

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 course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.

Bibliography:
Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Extra texts could be downloaded at the beginning of the class from Moodle.

FILMOGRAPHY:
Robert Flaherty, Nanook of the North (1922)
Dziga Vertov, L’uomo con la macchina da presa (1929)
Joris Ivens, Regen (1929)
Vittorio De Seta, Lu tempu de li pisci spata (1954)- Isole di fuoco (1954)
Autori Vari, Amore in città (episodio Storia di Caterina) (1952)
Jean Rouch-Edgar Morin, Chronique d’un été (1960).
Cecilia Mangini, Stendalì (1960)
Gianfranco Mingozzi, La taranta (1962)
Chris Marker, Sans Soleil (1982)
Alina Marazzi, Un'ora sola ti vorrei (2002)
Werner Herzog, Grizzly Man (2005)
A.Ferrente-G.Piperno, Le cose belle (2012)
Nanni Moretti, Santiago, Italia (2018)
Sara Dosa, Fire of Love (2022)

1. Legal protection of the creative act. 2. Requirements for the protection of intellectual products such as intellectual works. 3. Rights to copyright: analysis of rights and main characteristics. 4. Moral rights: analysis and main characteristics. 5. Copyright and related rights. 6. Author and artist/interpreter/performer. 7. Cinematographic work, musical work and theater play. 8. The music publisher and the phonogram producer. 9. Producer of cinematographic and assimilated products. 10. Commercialization of cinematographic and assimilated products. 11. The theater manager. 12. Analysis of the main contracts in the sector. 13. The mediator bodies of copyright and related rights.

Entertainment Law of A. Miccichè - Artemide Editions, only chapters below indicated:

Chapter 5: all excluded; chapter 6: all excluded; chapter 7: include only form 7.1 to 7.10, avoid all the rest; chapter 8: all excluded; chapter 9: all excluded; chapter 10: exclude only 10.10, consider all the rest; chapter 11: exclude only 11.6, consider all the rest; chapter 13: exclude only 13.33 consider all the rest; chapter 14: exclude only 14.25 and 14.27 consider all the rest; chapter 15: consider only 15.1 and 15.2, exclude all the rest; chapter 16: exclude only 16.19 and 16.20 consider all the rest.

From Cartesian grammar to the pragmatics of language

The course aims to address one of the classic themes of the philosophy of language: the debate between the models inspired by the Cartesian-rationalist tradition and the theoretical perspectives that, referring to the real contexts of language use, promote a vision based on pragmatics. The aim of the course is to show how this debate has important repercussions on the theme of human nature.

- Berwick, R. ,Chomsky N. (2016) Perché solo noi: Linguaggio ed evoluzione. Torino: Bollati Boringhieri.
- Tomasello M. (2014) Unicamente Umano: storia naturale del pensiero. Bologna: Il Mulino

a) Pier Paolo Pasolini, La Divina Mimesis, Milano, Mondadori, 2019

b) Pier Paolo Pasolini, Petrolio, edited by Walter Siti, Milano, Garzanti, 2022

c) Marco Antonio Bazzocchi, Alfabeto Pasolini, Roma, Carocci, 2022

d) Vedere, Pasolini, edited by Andrea Cortellessa and Silvia De Laude, Vicenza, Ronzani, 2022; or Andrea Cortellessa, Una ragione in più per andare all’Inferno. Vedere, Pasolini, forthcoming; or Marco Belpoliti, Pasolini e il suo doppio, Milano, Guanda, 2022

e) to give a context in 20th century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, quarto volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

The course aims at:
- providing the basics of sound and light physics;
- providing a historical and theoretical panorama on the nature of light, from the ancient world to modern theories and applications;
- providing a historical and theoretical panorama on the nature of sound, from the ancient world to modern theories and applications;
- illustrating the phenomena connected with generation and propagation of sound waves, with particular reference to the voice and musical instruments;
- illustrating the phenomena connected with generation and propagation of light waves, with particular reference to artificial light;
- understanding the perceptual processes of sound and light in relation to the physical aspects and the nature of the human ear and eye;
- illustrating the fundamental mechanisms which are at the base of sound and light technical applications in the entertainment field.

Material provided by the lecturer.

This course first settles the framework of the theoretical and methodological aspects of the history of food cultures. In particular, the class will focus on the economic, cultural, and social features that have marked the imaginary and the use of food in the contemporary age.
The first part of the course (6 hours) is devoted to the introduction of the theoretical and methodological aspects of cultural history and the history of material cultures. The second part of the course (6 hours) addresses the long-term historical changes of agriculture in the contemporary age. The third part of the course (18 hours) is concerned with the history of Italian food culture with particular attention to Mediterranean food cultures. The fourth part of the course (6 hours) is focused on three aspects on the cultural relations between food and society: food and the environment, food and inequalities, food and religions.

Main reference text:

Alberto Capatti e Massimo Montanari, La cucina italiana. Storia di una cultura, Roma-Bari, Laterza 2017, 424 p., € 14,00.

A book to be chosen from:


Piero Bevilacqua, Il cibo e la terra. Agricoltura, ambiente e salute negli scenari del nuovo millennio, Roma, Donzelli, 2018, 215 pp., € 11,00.

Alberto De Bernardi, Il paese dei maccheroni. Storia sociale della pasta, Roma, Donzelli, 2019, 262 pp., € 30,00.

Massimo Montanari (a cura di), Cucina politica. Il linguaggio del cibo fra pratiche sociali e rappresentazioni ideologiche, Bari-Roma, Laterza, 2021, 328 pp., € 19,00

The first part gives an overview on the concepts of gender and sexuality, with particular regard to the social constructivist approaches, queer studies and intersectional feminism perspective. The course aims to provide students with the methodological tools to analyse communication practices in various media (whether digital or not) from a gendered perspective. The second part is dedicated to lab activities. The research lab includes working in groups and will involve students in the design of research paths on specific topics.

D. Richardson (2015), Conceptualising Gender, in V. Robinson & D. Richardson (eds), Gender and Women’s Studies, Palgrave, pp. 3-22
A. L. Tota (2008), Gender e media. Verso un immaginario sostenibile, Meltemi, Milano (Capitoli: 1, 2, 3, 4, 7, 8, 9, 10)
S. Capecchi (2014), Methodological problems in gender and media research, Qual Quant, 48, pp. 837–844

COUNTER-HISTORIES OF A PLURAL ITALY. NAPLES AND ITS SURROUNDINGS, FROM “CHILDREN OF THE MADONNA” TO THE STRUGGLES OF “SECOND GENERATIONS”
When thinking to the Naples as seen by Italian film and TV-series we immediately think to a Neapolitanness recognizable, a fabric interwoven by some imaginary places and some reference faces and authors, from Totò to Eduardo, via Massimo Troisi. Yet there is also a denied, a hidden, a subaltern Naples, a city that shows the living traces of a past made of encounter, domination, contamination, that bring us back to the relationships with the Mediterranean countries, with Africa, but also with African American experience, from guerre de course to colonialism, from migrations to multicultural society. We will analyze some titles that contributed to give shape and visibility to this plural Naples, ideally extending to its hinterland, from the Neapolitan episode of "Paisà" to "The Vice of Hope" (Edoardo De Angelis, 2018), via "Il nero" (Giovanni Vento, 1967), uncovering in an antiessentialist lens the condition of “black children of the Madonna”.

Filmography (list subject to revision):
Roberto Rossellini, Paisà, ep. Napoli, 1946
Luigi Zampa, Campane a martello, 1949
Francesco De Robertis, Il mulatto, 1950
Giovanni Vento, Il nero, 1966
Guido Lombardi, Là-bas. Educazione criminale, 2011
Edoardo De Angelis, Il vizio della speranza, 2019

Purposes
The course aims to provide an in-depth knowledge of the legal framework that regulates the audio-visual sector in Italy and in Europe and on the underlying principles.
During the lessons, an overview will be carried out on the institutional actors, on the supply chain system and a legislative evolution will be outlined in the new economic and technological context, in the light of the new digital ecosystem. Operators of the sector can be invited to illustrate case studies and best practices.
Students will be provided with informative elements and tools to know the procedures and the regulatory framework to support businesses and audio-visual works.

Course structure
First part: the European framework that regulates cinema and the audio-visual sector
1.1 The creation of the Digital Single Market and the European audio-visual subjects
1.2 The revision of the Audio-visual Media Services Directive and main issues on the revision of the Copyright Directive and the "Sat Cab" regulation
1.3 The Creative Europe Programme - Media
1.4 The European co-productions Convention and the Eurimages Fund
1.5 The legislation on state aid
Second part: cinema and audio-visual national legislation: the Law n. 220/2018 and the implementing decrees
2.1 Governance and competent authorities: overall framework. Structure, duties and attributions of the General Directorate of Cinema of MIC
2.2 The law n.220 of 2016: origin, objectives, strategic lines of intervention and resources
2.3 The law n.220 of 2016: nationality, beneficiary subjects and works
2.4 The law n. 220 of 2016: selective support for production and automatic contributions
2.5 The law n. 220 of 2016: the system of tax credits for the audio-visual supply chain
2.6. Support for promotion; festivals, awards, reviews, writers, associations and development of cinematographic and audio-visual culture. The main public institutions (ILC, CSC, Cineteca Bologna, Turin Museum, Cinema Biennale)
2.7 The law n. 220 of 2016: extraordinary plans for the audio-visual heritage digitization and for cinema’s strengthening
2.8 The MI - MICT action plan for media education
2.9 The State – Regions relationship and the recognition of the Film Commission
2:10. The three reforms envisaged by the Law: protection of minors in the film and audio-visual sector and the classification of works; promotion of cinematographic and audio-visual works: planning and investment obligations for audio-visual media service providers; job market reform on cinematographic and audio-visual matters.

The material will be uploaded by the teacher on the Teams channel of the course

The workshop will be focused on the elaboration of audiovisual products achieved with the use of smartphones.

None. It is essentially a practical workshop.

The schedule of the filmaking lab is organized in two different parts: a)theory on film writing - (the idea, the story and the final script ) - and film directing - visual culture, shots and close up, film grammar, soundtrack on dialogues, sound and music; b) filming a shortmetrage, a trailer or a teaser of a film (it has to be made with digital devices - smartphone, digital camera or camcorder).

Following books are suggested:
A. Bazin What'is cinema -

Students will be enabled to know the fundamental steps of communication, through a pedagogical analysis of verbal and non-verbal language, and of the educational relationship.
They will acquire:
knowledge relating to the pedagogy of communication to give substance to an embodied education, with particular regard to non-verbal body language in the intercultural and inclusive pedagogical field;
educational skills related to the use of the body, dance and theater as an anthropological, political, and social transformation element and questioning the meaning of art as an educational experience;
knowledge of elements linked to pedagogical knowledge based on "being in relationship", elements of a "pedagogy of the border" and of "resonance", the use of symbolic narration, both corporeal and written, and the peculiarities of human communication referring to 'pedagogical area;
knowledge of the main theories on the mind-body relationship in a historical and epistemological perspective,
knowledge of the current perspectives of neuroscience in relation to the psycho-corporeal unity.

In particular, the concept of empathic relationship from a theoretical-practical point of view will be studied with laboratory activations during the lessons.

Reference texts:
Boella L., (2006). Feel the other. Knowing and practicing empathy. Milan: Raffaelo Cortina Editore
First part
Battista F., (2021). Beyond the dominant narratives. In Polenghi S., Cereda F., Zini P. (edited by) The responsibility of pedagogy in the transformation of social relationships, volume Siped Junior, Lecce: Pensa Multimedia.
Magnanini A., Battista F. (2021), Unicuique suum. Artistic and educational interweavings for a new culture of the body. In Italian Journal of Special Education for Inclusion. Lecce: Think MultiMedia.
Rosa H., (2020) Pedagogy of resonance. Brescia; and. Morceliana
pp. 55-106; pp. 143-178
Fontana S., Mignosi E., (2020). The forms of multimodality: Signs, gestures and words in the classroom. In Voghera M., Maturi P, Rosi F. (edited by), Oral and written, verbal and non-verbal: multimodality in lesson time. Franco Cesati Publisher (pp. 305-318)

One of the following texts of your choice:
Demetrio D. (2012) To educate is to narrate. The theories, practices, care. Milan-Udine: Mimesis;
Part two and part four
Campisi E. (2018). What is gestures: Milan: Carocci
Ammanniti M., Stern D., edited by (1991), Representations and narratives. Bari: Laterza
Bourriaud N. (2014), The rooting. Milan: Postmedia
up to p. 115
Mignosi E. (2008). Training of trainers and dance movement therapy. Palermo: Editions of the national foundation "Vito Fazio-Allmayer"
Up to page 95
Some articles or handouts part of the reference texts will also be shared online.

- Concept, feasibility, realization of synopsis, subject, treatment and script.
- Development: human resources, work team, artistic components.
- Presentation of the artistic project ("Pitching Skills")
- Financing, public and private film funding, tax credit, tax shelter.
- Other financial resources ("product placement", sponsorships, joint venture, crowdfunding, equities).
- Financial plan, liquidity plan and budget.
- The employment contract in the audiovisual sector. The authors. Professional figures, duties, responsibilities. Work organization models (Italy, USA, France).
- The pre-organization activity. Locations, Suppliers, Troupe, Cast.
- Internalization and externalization of costs, with particular reference to Photography, Scenography and Costumes
- Production processes and “green film” certification. The documents of the set.
- The Work Plan. Hinges, variables, verification of financial optimization, considerations.
- Cost estimate. Expenses, “hidden” charges, minimization of unexpected costs.
- Post-production.
- Low-cost production.
- The audiovisual market in Italy, in Europe and in the world.

The study material will be provided by the teacher.
In addition, the following readings are recommended (also available in digital format):
- From Reel to Deal: everything you need to create a successful independent film - Dov SS. Simens - USA 2004
- Surviving Production: The Art of Production Management - DS Patz - 1997
- Location Scouting and Management Handbook: Television, Film and Still Photography - R. Maier 1994
- Shooting on location: the logistics of shooting on location, whatever your budget or experience - Kathy M. Mc Curdy - 2011
- Digital cinema: the revolution in cinematography, postproduction and distribution - B. McKernan - 2005
- Film production management: how to budget, organize and shoot your film - Bastian Cleve - 2017
- Mediasalles - Cinema Report 2018
- Mediasales - DiGiTalk 2016
- Publications on the ANICA website (CCNL Audiovisivo - Data on Italian cinema - Laws and decrees)

The workshop aims to provide an overview of the audiovisual post-production phases, starting with acquisition of the footage and ending with the finalization of the audiovisual product, passing through its elaboration, with a particular focus about the role of the post-production coordinator and about the workflow management, which involves professional figures like the video editor, the colorist, the vfx artist and the sound designer.

In parallel the workshop aims to provide, through the use of the dedicated software Blackmagic DaVinci Resolve in particular, some technical knowledge about the following subjects:
- script sorting for post-production departments;
- acquisition and storage of footage;
- project settings and create proxies;
- editing video;
- color correction and color grading;
- visual effects;
- compositing;
- motion graphics;
- sound editing;
- finalization and export.

In consideration of the nature of the laboratory, no reference texts are envisaged.

Artistic identity
Marketing analysis
Self-promotion skills
Press-kit and communication strategies
PR
Press office strategies
Project management
Business plan
Social media management
Crowdfunding
Time management

A. Osterwalder, Yves Pigneur, Greg Bernarda, Alan Smith "Value Proposition Design", Edizioni LSWR
E. De Bono "Buona Idea. Esercizi per il pensiero creativo", Erickson
P. Kotler "Marketing 5.0", HOEPLI

- Concept, feasibility, realization of synopsis, subject, treatment and script.
- Development: human resources, work team, artistic components.
- Presentation of the artistic project ("Pitching Skills")
- Financing, public and private film funding, tax credit, tax shelter.
- Other financial resources ("product placement", sponsorships, joint venture, crowdfunding, equities).
- Financial plan, liquidity plan and budget.
- The employment contract in the audiovisual sector. The authors. Professional figures, duties, responsibilities. Work organization models (Italy, USA, France).
- The pre-organization activity. Locations, Suppliers, Troupe, Cast.
- Internalization and externalization of costs, with particular reference to Photography, Scenography and Costumes
- Production processes and “green film” certification. The documents of the set.
- The Work Plan. Hinges, variables, verification of financial optimization, considerations.
- Cost estimate. Expenses, “hidden” charges, minimization of unexpected costs.
- Post-production.
- Low-cost production.
- The audiovisual market in Italy, in Europe and in the world.

The study material will be provided by the teacher.
In addition, the following readings are recommended (also available in digital format):
- From Reel to Deal: everything you need to create a successful independent film - Dov SS. Simens - USA 2004
- Surviving Production: The Art of Production Management - DS Patz - 1997
- Location Scouting and Management Handbook: Television, Film and Still Photography - R. Maier 1994
- Shooting on location: the logistics of shooting on location, whatever your budget or experience - Kathy M. Mc Curdy - 2011
- Digital cinema: the revolution in cinematography, postproduction and distribution - B. McKernan - 2005
- Film production management: how to budget, organize and shoot your film - Bastian Cleve - 2017
- Mediasalles - Cinema Report 2018
- Mediasales - DiGiTalk 2016
- Publications on the ANICA website (CCNL Audiovisivo - Data on Italian cinema - Laws and decrees)

The workshop aims to provide an overview of the audiovisual post-production phases, starting with acquisition of the footage and ending with the finalization of the audiovisual product, passing through its elaboration, with a particular focus about the role of the post-production coordinator and about the workflow management, which involves professional figures like the video editor, the colorist, the vfx artist and the sound designer.

In parallel the workshop aims to provide, through the use of the dedicated software Blackmagic DaVinci Resolve in particular, some technical knowledge about the following subjects:
- script sorting for post-production departments;
- acquisition and storage of footage;
- project settings and create proxies;
- editing video;
- color correction and color grading;
- visual effects;
- compositing;
- motion graphics;
- sound editing;
- finalization and export.

In consideration of the nature of the laboratory, no reference texts are envisaged.

Artistic identity
Marketing analysis
Self-promotion skills
Press-kit and communication strategies
PR
Press office strategies
Project management
Business plan
Social media management
Crowdfunding
Time management

A. Osterwalder, Yves Pigneur, Greg Bernarda, Alan Smith "Value Proposition Design", Edizioni LSWR
E. De Bono "Buona Idea. Esercizi per il pensiero creativo", Erickson
P. Kotler "Marketing 5.0", HOEPLI

The course will start from Isaiah Berlin’s text on Romanticism and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001
A. Breton, Nadja, Torino, Einaudi, 2007
V. Magrelli, Profilo del dada, Roma, Laterza 2019

The course will retrace the evolution of melodrama from its origins to the early 20th century, providing students with the main tools of linguistic analysis for this highly and rigidly formalized genre. The focus will be on the linguistic habits of opera librettos: on the metric-rhythmic, syntactic-textual, lexical and dramaturgical conventions. The history of the writing of the opera will also be retraced through the reading and linguistic commentary of portions of librettos produced from the 17th to the 20th century.

— Vittorio Coletti (2017), "Da Monteverdi a Puccini. Introduzione all'opera italiana". Nuova edizione riveduta e ampliata, Torino, Einaudi.
— Ilaria Bonomi, Edoardo Buroni (2017), "La lingua dell'opera lirica", Bologna, il Mulino.
— Photocopies made available by the teacher.

The course on Ethics in Visual and Performing Arts is part of the related or complementary activities of the DAMS Degree Course. The aim of the course is to provide a basic knowledge of some of the main ethical issues related to visual and performing arts, with particular reference to the connection between art and morality in the interpretation of Western classical music with score. The course investigates the conceptual links between art and morality. It is not immediately clear why one can discuss morality in reference to art. Why does art have anything to do with morality? The main theoretical aspects of the relation between art and morality will be examined: 1. Moral agency of artist in a professional domain: professional ethics of artists; 2. The ethical and socio-cultural value of art making and art itself; the educational repercussions of those who approach an artistic career professionally.
Upon completion of the course, students are expected to:
(1) be acquainted with the main ethical issues related to making art;
(2) be able to analyse and understand philosophical texts in aesthetics and ethics related to visual and performing arts;
(3) be able to clearly outline and discuss the different theoretical and critical positions examined in the course.

Kivy, P. (2007), Philosophy of music. An introduction. Edited by Alessandro Bertinetto, Einaudi (chap. XI, XII).
Barenboim, D. (2018), Everything is connected, trad. it. E. Girardi, Feltrinelli (26 pages).
Giombini, L. Ethics of artists. A very short introduction.(Booklet, 12 pages).


The texts will be uploaded onto the Moodle system for student use.

The course examines the relationship between the art of movement and the movement of images, analyzing dance and video in cases of documentation of performances or artistic creation and their possible combinations. In the chronological span from the second half of the twentieth century to contemporary experiences, the course is based on the vision, the commentary and the study of the main cases of dance in video.

Videography:

Maya Deren, Dance Films
Maurice Bejart, Bolero – Le sacre du Printemps
Pina Bausch, Café Muller
Wim Wenders, Pina
Pier Francesco Aiello, Dancing Dreams. Sui passi di Pina Bausch
Bartabas/Ko Murobushi - Le centaure et l'animal
Masaki Iwana, Vermilion Souls
La La La Human Steps - Amelia
Tomer Heymann, Mr. Gaga. Anima e corpo di un genio della danza
Teatro Akropolis, La parte maledetta. Viaggio ai confini del teatro. Paola Bianchi

During the course of the lectures other videos and archival materials will be screened and, where possible, made available to non-attending students.

Textes:
- Alessandro Amaducci, Screendance. Sperimentazioni visive intorno al corpo tra film, video e computer grafica, Kaplan, Torino 2020
- Lecture notes and materials by the teacher

Editing studies: software DaVinci Resolve

Lecture notes by the teacher

Outline of sound in audiovisual media, with reference to historical, analytical, technological and productive issues.
The soundtrack production (for film, TV, advertisement, ecc.), its phases and techniques (design, recording, postproduction, editing, mixing, re-recording).
The issue of sonic style and practices thereof, specifically in the context of circulation and use of audio and audiovisual media in the World Wide Web.
Students are required to make a creative work (also through exercises in classroom), applying basic notions in order to choose how to record, obtain, insert, create, edit and mix sounds in a track for video.
Much attention is given to how sound can contribute to the formal and narrative structure of audiovisual products and to meaning.

TO BE CONFIRMED

Simone Corelli, Stefano Mainetti, Gilberto Martinelli, "Dialoghi, Musica, Effetti: il Suono nell'Audiovisivo", Lambda, Roma 2021.

The workshop will focus on the following topics: Image as document and image as memory; camera, cameraman, and performer's body; The body of the performer and the "corpus" of the editing.
This laboratory will cover the key phases of designing, producing, and disseminating an audiovisual product for live performance, both theoretically and practically.
A key objective of the laboratory is to stimulate reflection about the use of photographs and audiovisual images as documentation of performative works, but also as a means to express critical and creative thought.
We will address the different stages of the project from both a methodological and technical standpoint, as well as through a detailed exploration of key theoretical issues related to video and photography documentation languages in the context of performative art. This will be accomplished by analyzing concrete examples from experts and masters in the field.
Throughout the course, the students will be guided in designing and producing an audiovisual project. The project's specific content and format will be decided based on the participants' average level of knowledge and skills.

A list of reference materials and texts is currently being prepared.

The course will retrace the evolution of melodrama from its origins to the early 20th century, providing students with the main tools of linguistic analysis for this highly and rigidly formalized genre. The focus will be on the linguistic habits of opera librettos: on the metric-rhythmic, syntactic-textual, lexical and dramaturgical conventions. The history of the writing of the opera will also be retraced through the reading and linguistic commentary of portions of librettos produced from the 17th to the 20th century.

— Vittorio Coletti (2017), "Da Monteverdi a Puccini. Introduzione all'opera italiana". Nuova edizione riveduta e ampliata, Torino, Einaudi.
— Ilaria Bonomi, Edoardo Buroni (2017), "La lingua dell'opera lirica", Bologna, il Mulino.
— Photocopies made available by the teacher.

Editing studies: software DaVinci Resolve

Lecture notes by the teacher

Outline of sound in audiovisual media, with reference to historical, analytical, technological and productive issues.
The soundtrack production (for film, TV, advertisement, ecc.), its phases and techniques (design, recording, postproduction, editing, mixing, re-recording).
The issue of sonic style and practices thereof, specifically in the context of circulation and use of audio and audiovisual media in the World Wide Web.
Students are required to make a creative work (also through exercises in classroom), applying basic notions in order to choose how to record, obtain, insert, create, edit and mix sounds in a track for video.
Much attention is given to how sound can contribute to the formal and narrative structure of audiovisual products and to meaning.

TO BE CONFIRMED

Simone Corelli, Stefano Mainetti, Gilberto Martinelli, "Dialoghi, Musica, Effetti: il Suono nell'Audiovisivo", Lambda, Roma 2021.

The workshop will focus on the following topics: Image as document and image as memory; camera, cameraman, and performer's body; The body of the performer and the "corpus" of the editing.
This laboratory will cover the key phases of designing, producing, and disseminating an audiovisual product for live performance, both theoretically and practically.
A key objective of the laboratory is to stimulate reflection about the use of photographs and audiovisual images as documentation of performative works, but also as a means to express critical and creative thought.
We will address the different stages of the project from both a methodological and technical standpoint, as well as through a detailed exploration of key theoretical issues related to video and photography documentation languages in the context of performative art. This will be accomplished by analyzing concrete examples from experts and masters in the field.
Throughout the course, the students will be guided in designing and producing an audiovisual project. The project's specific content and format will be decided based on the participants' average level of knowledge and skills.

A list of reference materials and texts is currently being prepared.