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 (18 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 biographical itinerary of the socialist leader Lelio Basso, as a political and intellectual paradigm of a 20th century biography.

- 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, € 32,90 or L. Caracciolo, A. Roccucci, "Storia contemporanea (1848-2016)", Milano, Mondadori Education, 2017, pp. 800, e 38,00)

- Giancarlo Monina, Lelio Basso. Un leader globale del secondo Novecento, Roma, Carocci, 2016, € 39,00

FILMOGRAPHY: A choice between the following movies: - Der Triumph des Willens (Leni Riefenstahl, 1935) - Senso (Luchino Visconti, 1954) - Paths of Glory (Stanley Kubrick, 1957) - Una vita difficile (Dino Risi, 1961) - Uomini contro (Francesco Rosi, 1971).

Photography as Contemporary Art

The acceptance of photography as an artistic medium is among the phenomena that most contributed to redefining the landscape of the visual arts between 1960 and 2000. Challenging the traditional conception of painting and sculpture as the "apex" of the expressive hierarchy of the arts, artists began to probe the conceptual qualities of photography while at the same time questioning the alleged ability to capture objective "truth". Photography has thus been used in different ways - from conceptual and process art, from performance to feminist art, from "objective" German photography of the 1980s to the "Pictures Generation" -, all approaches which differed from the aesthetics that had characterized its modernist uses and often close to anonymous and vernacular manifestations (amateur photos, illustration, advertising, etc.). The course examines in parallel artworks and theoretical elaborations, focusing on key figures of the period.

Pop Constellation: Robert Rauschenberg, Andy Warhol, Ed Ruscha, Diane Arbus. Conceptual photography I: Douglas Huebler, Bruce Nauman, John Baldessari. Conceptual photography II: Ugo Mulas, Franco Vaccari. Performance: Vito Acconci, Luigi Ontani, Anna Wilke, Giuseppe Penone. The Düsseldorf School: Bernd e Hilla Becher, Andreas Gursky, Thomas Struth. Pictures Generation: Cindy Sherman, Richard Prince. Self-portrait: Francesca Woodman, Nan Goldin, Robert Mapplethorpe. New topographies: Jeff Wall, Lewis Baltz, Robert Adams. Viaggio in Italia: Luigi Ghirri, Gabriele Basilico.


For further informations please check this link: https://romatrecontemporanea.blogspot.it/

Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108
Claudio Marra, Fotografia e pittura nel Novecento, Milano 2012, pp. 168-248
David Campany, Art an Photography, London 2011: Introduction
Rosalind Krauss, Nota sulla fotografia e il simulacro, in Teoria e storia della fotografia, Milano 2006, pp. 219-32.
Roberta Valtorta (a cura di), Il pensiero dei fotografi, Milano 2008
Stefan Gronert, La scuola di Düsseldorf, Monza 2010

Some of these texts are downloadable at: https://romatrecontemporanea.blogspot.it/, in the relative 2017-18 post.

All images used during the classes are easily available on the internet, including on major museums websites (MoMA, Tate, Centre Pompidou ecc.).

Textbook:
Hal Foster et al., Art since 1900, Thames & Hudson

The aim of the class is to give an overview of the more relevant issues of film and media aesthetics. In particular, the class will be focused on both historically relevant perspective and more recent topics and methodologies. A particular attention will be devoted to theories of sensory and emotional cinematic and medial experience.
The program will be articulated around three main stages. In the first one, the main approaches to film aesthetics will be taken into account, with particular reference to the first half of the 20th century. In the second one, the classic film aesthetics will be compared with film and media aesthetics approaches of the second half of the 20th century, and in the third one with contemporary theories of the “Postmedia” condition.

1. Francesco Casetti, L’occhio del Novecento. Cinema, esperienza, modernità, Bompiani, Milano 2005 (English version: Francesco Casetti, Eye of the Century: Film, Experience, Modernity, Columbia University Press, New York 2008)

2. Ruggero Eugeni, La condizione postmediale, La Scuola, Brescia 2015

3. Enrico Carocci, Attraverso le immagini. Tre saggi sull’emozione cinematografica, Bulzoni, Roma 2012

4. An anthology of essays, edited by the course teacher

The aim of the class is to give an overview of the more relevant issues of film and media aesthetics. In particular, the class will be focused on both historically relevant perspective and more recent topics and methodologies. A particular attention will be devoted to theories of sensory and emotional cinematic and medial experience.
The program will be articulated around three main stages. In the first one, the main approaches to film aesthetics will be taken into account, with particular reference to the first half of the 20th century. In the second one, the classic film aesthetics will be compared with film and media aesthetics approaches of the second half of the 20th century, and in the third one with contemporary theories of the “Postmedia” condition.

1. Francesco Casetti, L’occhio del Novecento. Cinema, esperienza, modernità, Bompiani, Milano 2005 (English version: Francesco Casetti, Eye of the Century: Film, Experience, Modernity, Columbia University Press, New York 2008)

2. Ruggero Eugeni, La condizione postmediale, La Scuola, Brescia 2015

3. Enrico Carocci, Attraverso le immagini. Tre saggi sull’emozione cinematografica, Bulzoni, Roma 2012

4. An anthology of essays, edited by the course teacher

After a general introduction on digital art concepts and "hacker attitude", the course will show some examples of artistic digital use. These will show and explain the reasons and the design approaches of different works and artists. Students will then be invited to produce, individually or in small groups of three people, one of their projects accomplished with the supplied technologies, or to develop the presentation of a project which requires not available equipment. Students must already be able to accomplish basic tasks of filming and editing, how to surf the Internet and / or use basic programs of digital graphics. It is obligatory to have a mail box to keep in touch with the teacher.

Giacomo Verde – ARTIVISMO TECNOLOGICO, scritti e interviste su arte, politica, teatro e tecnologie - Ed. BFS, Pisa – 2007
Download: http://www.verdegiac.org/artivismo.html

After presenting the theoretical elements on the process of filmmaking (pre-production, production and post-production), students will realise a short film working with the Professor and measuring with the difficulties proposed by the various production phases.

There is not a course book.

With the support of some reference interventions in film theory and criticism, from Ejzenštejn to Burch, we will run through the main milestones that characterized the evolution of film as art, language and industry, from pre-cinema to classical Hollywood, through the experience of avant-guards in the 1920s, the introduction of sound and the emergence of different models of "Studio System".

Bibliography:
David Bordwell, Kristin Thompson, Film History. An Introduction, McGraw-Hill Education (chapters 1-10); plus an online collection of articles, edited by the professor.
Filmografy: Cabiria (G. Pastrone, 1913), The Birth of a Nation (David W. Griffith, 1915), The Outlaw and his Wife (Victor Sjöstrom, 1917), Eldorado (M. L’Herbier, 1921), Nosferatu, a Symphony of Horror (Friedrich W. Murnau, 1922), Battleship Potëmkin (Sergej M. Ejzenštejn, 1926), The Man with the Movie Camera (Dziga Vertov, 1929), Sisters of Gion (Mizoguchi Kenji, 1936), Stagecoach (John Ford, 1939), The Rules of the Game (Jean Renoir, 1939), Citizen Kane (Orson Welles, 1941).
NB: The students are invited to access the integral syllabus, available online at this link: https://goo.gl/4q8D99.

Storia del cinema I (Studenti M-Z) A. A. 2017-18
professor: Ivelise Perniola
type of module:
6 credits (L-ART/06)

From pre-cinema to modernity: elements of cinema history

Description:
The invention of cinema, between science and ontology. Lumière, Méliès and the "primitive way of representation". The affirmation of the "institutional mode of representation" from the School of Brighton to Griffith. The rise of Hollywood and the birth of genres: the slapstick comedy, Chaplin and Keaton. The avant-gardes of the 1920s in France (abstraction, dadaism and surrealism). German expressionism. Soviet Union (theories and practices of editing). Sound and American classic cinema. The Hollywood genres and the Studio System. The poetic realism and Renoir. Welles, Bazin and modern cinema.

The study of all the texts in the program (film, manual, anthology of writings) must be considered an essential condition for admission to the examination. The examination should be completed by the autumn session in September 2018.

Hours: From 4 October to 17 November
Wednesday 9.00-12.00 (Hall 1- Only the lesson of 15 November will be held in the Park Hall)
Friday 9.00-12.00 (Hall 1)
Lesson calendar: 4, 6, 11, 13, 18, 25, 27 October, 3, 8, 10, 15, 17 November.

Bibliography:

1)BooK:

David Bordwell e Kristin Thompson, Storia del cinema. Un’introduzione, McGraw Hill, Milano, 2010 (from Chapter I to Chapter XI included).

At the library/video library of the Department (Via ostiense 139), the manual and all titles in filmography will be available.

Filmography:

SHORTS MOVIES:
Arrivée d'un train à la Ciotat (Arrivo di un treno alla stazione Ciotat, L. Lumière, 1895), Arrivée des congressistes à Neville-sur-Saône (Arrivo dei congressisti a Neville-sur-Saône, L.Lumière, 1895), Sortie d'usine (Uscita dalla fabbrica, L. Lumière), Répas de bébé (Pasto del bambino, L. Lumière, 1895), Arroseur et arrosé (Innaffiatore e innaffiato, L.Lumière, 1896), Départ de Jerusalem en chemin de fer (Partenza da Gerusalemme in treno, prod.Lumière, 1896), L'Homme orchestre (L'uomo orchestra, G.Méliès, 1900), L'Homme à la tête en caoutchouc (L'uomo dalla testa di caucciù, G.Méliès, 1901), Voyage dans la lune (Viaggio sulla Luna, G.Méliès, 1902), Le Mélomane (Il melomane, G.Méliès, 1903), The Countryman and the Cinematograph (Il contadino e il cinema, R.W.Paul, 1901), As seen through a Telescope (Visto da un cannocchiale, G.A.Smith, 1900), Mary Jane's Mishap (La disavventura di Mary Jane, G.A.Smith, 1903), Ladies Skirts Nailed to a Fence (Gonne di signore inchiodate ad un recinto, prod. Bamforth, 1900), A Big Swallow (Un bel boccone, J.Williamson, 1901), Fire! (Fuoco!, J.Williamson, 1901), Stop Thief! (Ferma ladro!, J.Williamson, 1901), Rescued by Rover (Salvata da Rover, L.Fitzhamon, 1905). The Great Train Robbery (La grande rapina al treno, E.S.Porter, 1903), A Corner in Wheat (Un accaparramento di grano, D.W.Griffith, 1909), The Musketeers of Pig Alley (La banda di Pig Alley, D.W.Griffith,1912), The Immigrant (L'emigrante, C.S.Chaplin, 1917).Le Ballet mécanique (Il balletto meccanico, F.Léger-D.Murphy, 1924), Entr'acte (Id. R.Clair, 1924), Emak-Bakia (Id. Man Ray, 1926),, Un chien andalou (Un cane andaluso, L. Buñuel, 1929).

Feature-Lenght Films:

Sherlock Jr (La palla n.13, B.Keaton, 1924)
Das Cabinet des Dr.Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919)
Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926)
Bringing up baby (Susanna, Howard Hawks, 1938)
Singing in the Rain (Cantando sotto la pioggia, Stanley Donen-Gene Kelly, 1952)
Citizen Kane (Quarto Potere, Orson Welles, 1941)

The "live theater", the main object of the course, between traditions and crafts, will be observed from two specific points of view: the puppet theater, puppet and puppet; theaters in prison. For both parts of the course students are expected to participate in live shows.
Part one: study and laboratory meetings dedicated to specific areas of figure theater framed by scholars, artists and masters, both from the historiographic point of view and from that of current stage practice.
Part two: specifically dedicated to theaters in prison where it will be possible to follow live shows made by companies of prisoners actors who will perform at the Palladium theater.
The common goal is to examine the "living" reality of these theatrical forms, their expressive possibilities, with particular attention to the renewal of traditions and crafts. Material theater and at the same time theater of history and memory.

TEXTS FOR THE EXAM
ATTENDING STUDENTS [no more than 3 absences are allowed]:
1) Alfonso Cipolla, Giovanni Moretti, "Storia dei burattini e delle marionette in Italia", Corazzano, Titivillus, 2011
2) Emilio Pozzi, Vito Minoia, "Recito, dunque so(g)no", Urbino, Edizioni Nuove Catarsi, 2009 [www.edizioninuovecatarsi.org]
3) Texts and materials that will be recommended and / or provided during the lessons (it will be possible to diversify the study topics by choosing from the topics covered in class and agreed with the teacher).

NON attending students:
1) Alfonso Cipolla, Giovanni Moretti, "Storia dei burattini e delle marionette in Italia", Corazzano, Titivillus, 2011
2) Mariano Dolci, Vito Minoia, "Dialogo sul trasferimento del burattino in educazione", Urbino, Edizioni Nuove Catarsi, 2009 [www.edizioninuovecatarsi.org]
3) Emilio Pozzi e Vito Minoia, "Recito, dunque so(g)no", Urbino, Edizioni Nuove Catarsi, 2009 [www.edizioninuovecatarsi.org]
4) Claudio Meldolesi, "Immaginazione contro emarginazione. L'esperienza italiana del teatro in carcere, in “Teatro e storia”, n. 16, 1994, pp. 41-68 (pdf downloadable at the link: http://www.teatroestoria.it/indici.php?id_volume=79)

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical works

IL TEATRO COMICO by Carlo Goldoni
Dramaturgical analysis of the text and reflections for a possible performance of the play.
Practical exercises for understanding the fundamental aspects of the Goldonian Revolution.

THE COMIC THEATER by Carlo Goldoni

Laboratory Proposal
The real body: the performative practices of Buto Blanc and of Ephesus Technique

The combined training and creation path, open to all interested students, combining professionals and non-professionals in search of new perceptual and performance modes in dance, aims to create basic body language among participants, using as a reference the method of White Dicker Masaki Iwana's work in a first part of the work and initiation at Euritmia through the Ephesus Technique of Master Akira Kasai in a second part. Every meeting will open with a time to devote to training. As requested and suggested by oriental cultures, exercise will not only be important for its mechanical function of mere warming but above all as a condition necessary to awaken important dance attitudes. Through certain exercises, you will gradually seek to gain elasticity and balance, to activate an intuitive intelligence of the body and a readiness and effectiveness in action. It will be important to educate the students to simple respiratory techniques that are able to make the bony and muscular structure softer and more accessible and free the joints of the joints, making them empty and receptive places, thus allowing a more organic passage of energy into action and a richer presence in space. The basic experience of living your body is a perception that is already nurtured in training. More specifically, the practice introduced by Buto Blanc in his orthodox lines takes the name of "The life of a plant" and identifies eight defined dance models that translate the body's organic mechanism in a poetic and indirect way, associating it with images taken from phenomenal mode of Nature. We will then approach bodily modes that will allow the realization of the old type, the type of woman, the samurai, the young, among the most used in human exploration and dance exercises related to the visualization of plant phenomena and animals such as bloom, drooling, fog, pollen, wind, and animal. As the well-trained in the research movement of Anku Buto and Steinerian Euritmia, the intent is to return and deepen the integrity of the human being with the macro and micro cosmos, to rebalance the physical and spiritual resources specific to each individual and make this fertile and creative ground an artistic humus, a springboard to try to advance in the field of performing arts. In this sense, the emphasis will be placed on the inner nature of the body, its natural and natural state, sensibilities and propedeutic instruments to interrogate about the material manifestation of the body, its internal dynamics, reflected by deep organic mechanisms. These bodily states will be investigated in their different quantitative and qualitative levels to approach a more personal dance, in the passages of a dance of inspiration before and of a free dance afterwards. With the Ephesian technique, voice work will be introduced, namely vocalization of vocals and language consonants, for a greater awareness of the dynamics between an interior and personal space and an external, choral and shared space. The vigor of vocalization from a subtle point of view will intercept the invisible and essential dimension of the generating energy of the creative act. They will explore structures of Steinerian Euritmia, which train to move organically into space in all directions and perceive it in all its volumes. Each participant will begin with more intuitive creative faculties, through the strategic use of images for dance. It is to offer words, phrases, poetic verses of Western and Oriental culture as a mysterious orientation, an enigmatic path to follow in discovering one's inner landscape. Surprising and effective in this sense the haiku's evocative and alogic force. These short poetic compositions considered the ultimate expression of zen culture are distinguished by the conciseness and fugacity of their images. The Haiku experience phenomenal reality beyond its visible aspect as a unity of spirit and matter; suggest an instantaneous and emotional perception of reality that is transmitted directly from the senses with which it is grasped to a more intimate understanding of it. To explore the performative possibilities, the quest to be made is spiritual, meaning for the spiritual that the man's tendency to reach the essence and the structure of his own interiority. The laboratory includes an open and final act as an opening to the public.

Alessandra Cristiani, "Masaki Iwana e la tradizione del Butō Bianco. Metodologia della danza" e "Un’ulteriore riflessione" in "Trasform’azioni - Rassegna internazionale di danza butō. Fotografia di un’esperienza" edited by Samantha Marenzi, Editoria e Spettacolo, Roma 2010.

'Body, Communication and Symbol': an Outline of Contemporary Theories.
The course will deal with the development of ‘embodied theories’ of language in the last thirty years: a new trend in which the coming of language takes roots in the pre-linguistic mind, that is in perceptive, emotional, imaginative and motor-systems of man, according to an evolutionary point of view.

- Paolo Marolda, La relatività simbolica, Reggio Emilia, Diabasi, 2005
- Francesco Ferretti, Ines Adornetti, Dalla comunicazione al linguaggio, Milano, Mondadori, 2012.

Non-attending students:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori.
Reference Book: Stefano De Matteis, Le false libertà. Verso la postglobalizzazione, Milano, Meltemi.

And a third one according to the curricula among the following ones:
Theatre: Victor Turner, Dal rito al teatro, Bologna, Il mulino;
Cinema: Edgar Morin, Il cinema o l'uomo immaginario, Milano, Cortina;
Languages and Mediation: Ngugi wa Thiongo, Spostare il centro del mondo. La lotta per le libertà culturali, Milano, Meltemi;
Philosophy: Victor Turner, Antropologia dell'esperienza, Bologna, Il mulino;
History: Ernesto de Martino, La terra del rimorso. Contributo a una storia religiosa del Sud, Milano, Il saggiatore.

ITALIAN CINEMA FROM NEO-REALISM TO COMEDY ITALIAN STYLE
Program: The first part is dedicated to the most emblematic theories, films, authors, figures and styles of post-war cinema. The major works of Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Giuseppe De Santis, Pietro Germi are analyzed. Particular emphasis is given to the thought and practices of Cesare Zavattini. In the second part, the comedy is tackled through a multiplicity of points of view concerning the genre status, the narrative models, the types of characters, the divistic icons, the styles, the ways of production and reception. The most significant films of Dino Risi, Mario Monicelli, Luigi Comencini, Pietro Germi and Antonio Pietrangeli are analyzed. We trace the contemporary debate and subsequent reflections in historical-critical and theoretical fields.

TEXTS: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (in particular pp. 127-303); Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; Maurizio Grande, La commedia all’italiana, edited by Orio Caldiron, Bulzoni, Roma 2003; texts compiled by the teacher (that can be bought, at the beginning of the course, at the copisteria of 11, via G. Rocco). Students which will not follow the course must read also Mariapia Comand, Commedia all’italiana, Il Castoro, Milano 2010.
FILMOGRAPHY: 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; Due soldi di speranza (1951) by R. Castellani; Pane, amore e fantasia (1953) by L. Comencini; La strada (1954) by F. Fellini; Il grido (1957) by M. Antonioni; I soliti ignoti (1958) by M. Monicelli; La grande guerra (1959) by M. Monicelli; Tutti a casa (1960) by L. Comencini; Il sorpasso (1962) by D. Risi; Il professore (ep. Controsesso, 1963) by M. Ferreri; Sedotta e abbandonata (1964) by P. Germi; Io la conoscevo bene (1965) by A. Pietrangeli; C’eravamo tanto amati (1974) by E. Scola. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

PAINTING AND SCULPTURE IN ITALY (1400-1700)
The knowledge of art and artistic movements in Italy from early Renaissance to Neoclassicism is the aim of the course. This goal can be achieved analyzing the style of the works of art and their history, patronage, meaning in the contemporary society. Therefore a visive knowledge of paintings and sculptures is strictly requested.
The course will begin with some general lectures about artistic movements and different approaches to history of art. Students are kindly requested to have taken History of Medieval Art exam before attending the course.
Studying the manual is just the first step of preparing for the exam. The knowledge of the complete work of the most important artists is also requested and therefore it’s very important to use the website to get in touch with the whole oeuvre of artists (I suggest www.wga.hu). Maestri del Colore or Classici dell’arte Rizzoli can be useful as well. During the course some subjects will be developed and it’s very important to learn them through the slides which can be found at Ufficio Informatica at the end of the course. But the most important way of learning visual art is to get in real touch with the works of art visiting them. Therefore there’s a list of monuments in Rome to be visited before the exam.
Students attending the course can take a written exam at mid term and at the end of the term. These two written exams will be part of the final one.
Bibliography for attending and non attending students is the same. The least absolutely need to get through the course slides which can be found at the office of Collegio Didattico Beni Culturali. Students attending a 6 CFU course must study from 1400 to Leonardo included.

BIBLIOGRAPHY
1) SUGGESTED MANUAL:
P. DE VECCHI – A. CERCHIARI, ARTE NEL TEMPO, ED. BOMPANI. EDIZIONE BLU PER I LICEI volumes 2.1 and 2.2
https://www.libreriauniversitaria.it/arte-tempo-ediz-blu-scuole/libro/9788845042218
and
https://www.libreriauniversitaria.it/arte-tempo-ediz-blu-scuole/libro/9788845042225

or

I. BALDRIGA, DENTRO L'ARTE. DAL RINASCIMENTO AL ROCOCO', EDIZIONE ROSSA PER IL TRIENNIO DEI LICEI, ED. ELECTA SCUOLA
http://www.mondadorieducation.it/libro/irene-baldriga/dentro-l-arte/120900036562

2) READING ONE OF THE FOLLOWING TEXTS IS REQUESTED:

- J. SHEARMAN, ARTE E SPETTATORE NEL RINASCIMENTO ITALIANO. “ONLY CONNECT”, ORIGINAL ED. 1992, IT. ED. MILANO,
JACA BOOK, 1995
- M. BAXANDALL, PITTURA ED ESPERIENZE SOCIALI NELL’ITALIA DEL QUATTROCENTO, TORINO, EINAUDI, 1978
- A. PINELLI, LA BELLA MANIERA. ARTISTI DEL CINQUECENTO TRA REGOLA E LICENZA, TORINO, EINAUDI , 2003
- E. PANOFSKY, STUDI DI ICONOLOGIA. I TEMI UMANISTICI NELL’ARTE DEL RINASCIMENTO, ORIGINAL ED., 1939, IT. ED. TORINO, EINAUDI, 1999
- F. ZERI, DIETRO L’IMMAGINE. CONVERSAZIONI SULL’ARTE DI LEGGERE L’ARTE, MILANO, TEA, 1990 (OR VICENZA, NERI POZZA, 1998)
- A. BALLARIN, GIORGIONE E LA COMPAGNIA DEGLI AMICI: IL "DOPPIO RITRATTO" LUDOVISI, IN STORIA DELL''ARTE ITALIANA.
PART II, VOL. 1. DAL MEDIOEVO AL QUATTROCENTO, TORINO, EINAUDI, 1983, PP.481-541.
- F. ZERI, PITTURA E COTRORIFORMA. L’ARTE SENZA TEMPO DI SCIPIONE DA GAETA, ORIGINAL ED., EINAUDI 1957.
- F. HASKELL, MECENATI E PITTORI. STUDIO SUI RAPPORTI TRA ARTE E SOCIETÀ ITALIANA NELL’ETÀ BAROCCA, SANSONI, ORIGINAL ED. 1966
- G. BRIGANTI, PIETRO DA CORTONA O DELLA PITTURA BAROCCA, IN ROMA 1630: IL TRIONFO DEL PENNELLO, CATALOGO DELLA MOSTRA (ROMA), ED. O. BONFAIT, MILANO 1994, PP. 23-52.
- I. LAVIN, VISIBLE SPIRIT: THE ART OF GIAN LORENZO BERNINI, LONDON 2009.
- F. HASKELL – N. PENNY, L’ANTICO NELLA STORIA DEL GUSTO: LA SEDUZIONE DELLA SCULTURA CLASSICA 1500-1900, TORINO 1984.

Non-attending students:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori.
Reference Book: Stefano De Matteis, Le false libertà. Verso la postglobalizzazione, Milano, Meltemi.

And a third one according to the curricula among the following ones:
Theatre: Victor Turner, Dal rito al teatro, Bologna, Il mulino;
Cinema: Edgar Morin, Il cinema o l'uomo immaginario, Milano, Cortina;
Languages and Mediation: Ngugi wa Thiongo, Spostare il centro del mondo. La lotta per le libertà culturali, Milano, Meltemi;
Philosophy: Victor Turner, Antropologia dell'esperienza, Bologna, Il mulino;
History: Ernesto de Martino, La terra del rimorso. Contributo a una storia religiosa del Sud, Milano, Il saggiatore.

'Body, Communication and Symbol': an Outline of Contemporary Theories.
The course will deal with the development of ‘embodied theories’ of language in the last thirty years: a new trend in which the coming of language takes roots in the pre-linguistic mind, that is in perceptive, emotional, imaginative and motor-systems of man, according to an evolutionary point of view.

- Paolo Marolda, La relatività simbolica, Reggio Emilia, Diabasi, 2005
- Francesco Ferretti, Ines Adornetti, Dalla comunicazione al linguaggio, Milano, Mondadori, 2012.

The course aims to highlight the convergence, or even the substantial identity, between the two famous Aristotelian definitions of Homo sapiens: "animal that has language" and "political animal". By studying the texts of some important linguists and philosophers of language (E. Benveniste, JL Austin), as well as the major work of Hannah Arendt, Vita Activa, we would like to clarify the reasons why verbal language should be considered the biological organ of public practice.

G. Graffi, S. Scalise, Le lingue e il linguaggio. Introduzione alla linguistica, Il Mulino, limitatamente ai capitoli I, II, VII, VIII (excluding the in-depth paragraphs marked with an asterisk). To buy
NOTES BY PROF. VIRNO, Il parlante come artista esecutore. Available in photocopy.
Text P. Virno, to be read in relation to Austin and Malinowski.
Optional, available in photocopy.
J.L. AUSTIN, Enunciati performativi, in Id., Saggi Filosofici, Guerini e Associati, Milano 1990, pp. 221-36. Available in photocopy.
E. BENVENISTE, Problemi di linguistica generale I, Il Saggiatore, Milano 1971, pp. 301-347,
including the following essays: La natura dei pronomi, La soggettività del linguaggio, La filosofia analitica e il linguaggio. Available in photocopy.
E. BENVENISTE, Problemi di linguistica generale II, Il Saggiatore, Milano 1987, lincluding the following essays: Il linguaggio e l’esperienza umana, pp. 83-95; L’apparato formale dell’enunciazione, pp. 96-106. Available in photocopy.
B. MALINOWSKI, Il problema del significato dei linguaggi primitivi, in C.L. Ogden, I.A. Richards, Il significato del significato, Garzanti, Milano 1975, pp. 353-357. Available in photocopy.
H. ARENDT, Vita Activa, Bompiani, chapters 1, 2, 5. To buy.
Students who have to take a 4-credit exam do not have to answer for chapters. VII and VIII of the manual of Graffi and Scalise, nor of the chap. 1 and 2 of Vita activa by Arendt.


Linguaggio e natura umana, Bollati Boringhieri, only chap. 6° (“Storia naturale”). Photocopy avaible.

CINEMATOGRAFIA DOCUMENTARIA.
The course includes an introductory part related to a historiographic path through documentary cinema, from its origins to its contemporaneity and a monographic part dedicated to Social Movie (aesthetic, historical and textual elements). This year’s course also includes a workshop in which students are invited to make their own social movie dedicated to the university world. As every year, meetings will be organized with the authors, in order to put the students in touch with the professional realities of the sector.



Lessons are given:
16,18 (9-12 hours), 23, 26, April
3, 5 (10-13 hours), 7, 10, 14, 17, 21, 24 May

12-15 hours unless otherwise indicated.

CINEMATOGRAFIA DOCUMENTARIA.

Academic Year 2017-2018

LT- 6 CFU- PROF. PERNIOLA


Bibliography:

Bill Nichols, Introduzione al documentario, Lindau, Torino, 2014

Ivelise Perniola-Luca Caminati (a cura di), Dossier: Nuovi approcci storiografici al cinema documentario, "Imago. Studi di cinema e media", n.15, Bulzoni, 2017.

Remo Scano-Gabriele Peru, Il Social Movie: manuale di istruzioni, 2017.


FILMOGRAFIA:

Sardinia in a day 2017)
Italy in a day (G. Salvatores, 2014)
Life in a day (K. MacDonald, 2011)
Selezione di documentari del British Cinema (1930-1950)
Tutto parla di te (A.Marazzi, 2012)
Cadenza d'inganno (L. Di Costanzo, 2011)
Le italiane e l'amore (1961)
Diario del saccheggio (F. Solanas, 2004)

This course provides students with an overview on history of photography, its social functions and its role within the wider history of the technically reproduced image. The course discusses its relations with painting and visual arts and connections with most widespread visual devices of contemporaneity: cinema, TV, video, internet. Of course digital photography is included.

- G. d’Autilia, Storia della fotografia in Italia, Torino, Einaudi, 2016 ;
- E. Menduni, Fotografia prima e dopo. Rotture e continuità intorno alla svolta digitale, “Comunicazioni Sociali”, vol. XXXVIII, 2016, n. 1, pp. 15-23 ;
- E. Menduni, La fotografia, Bologna, il Mulino, 2008 (also e-book).

The first part of the laboratory is a historical excursus on the phases of “neotelevisione” (Eco’s definition for the kind of mainstream television that developed in Italy after 1975) and identifies the essential characteristics of the most important television genres - varieties, talk shows, reality shows, investigations. Then the laboratory includes a series of meetings with professionals from the world of television - authors, directors, operators, editors, casting authors – in order to understand what skills and professionalism are important for working in convergence tv.

There are no mandatory texts.
A recommended text is Stefano Balassone, Come Cavarsela in Tv, Lezioni di linguaggio audiovisivo. Roma, Meltemi, 2001

The course addresses film history from 1940 to date, considering the cultural contexts for the XXth and XXIst century, and focusing on specific moments. Each decade is considered through specific case studies, analyzed according to a formal, industrial and cultural perspective.
Main themes: Hollywood cinema in the 1940s. Italian cinema in the 1940s and Neorealism. 1950s: film genres in Europe and Hollywood. 1950s: narrative forms and styles. New Waves and art cinema in the 1960s. Experimental films: a few examples. New Hollywood in the 1970s. European cinema in 1970s and 1980s. Blockbusters and global franchises. World cinema and contemporary films.

Books:
Kristin Thompson & David Bordwell, Film History: An Introduction, McGraw Hill, 2010, chapters 11-20 + Appendix (pp. 173-472 + 525-548)
A collection of essays will be made available to students before the course.

Films:
Murder, My Sweet, Edward Dmytryk, 1944
Roma città aperta, Rome Open City, Roberto Rossellini, IT 1945
Rashômon, Akira Kurosawa, JP 1950
Domenica d’agosto, Sunday in August, Luciano Emmer, 1950
Singin’ in the Rain, Stanley Donen e Gene Kelly, US 1952
Vertigo, Alfred Hitchcock, US 1958
Hiroshima mon amour, Alain Resnais, JP-FR 1959
Persona, Ingmar Bergman, SW 1966
Blow up, Michelangelo Antonioni, UK 1966
Je, tu, il, elle, Chantal Akerman, B-FR 1974
Nashville, Robert Altman, US 1975
Taxi Driver, Martin Scorsese, US 1976
My Beautiful Laundrette, Stephen Frears, UK 1985
Die Hard, John McTiernan, US 1988
The Matrix, The Wachowski Brothers, US 1999
Caché, Hidden, Michael Haneke, FR 2005

The course covers a historical arc that goes from the post-war period to the present day. European and American filmmaking is primarily taken as a reference. Starting therefore from the phenomenon of Italian neorealism, we move on to the concept of modernity in cinema and the notion of author, taking as a reference cases straddling Europe and America between the 1940s and 1950s. Continuing with the 1960s, we then move on to analyzing the French Nouvelle Vague and New Hollywood in the USA. Particular attention is paid to Italian cinema of the 1960s between authorial and genre production. Finally, a short monographic section of the course focuses on the relationship between cinema and anti-fascism.

D. Bordwell, K. Thompson, Storia del cinema. Un'introduzione, McGraw-Hill, Milano 2010 (from chap. 11 to chap. 20 included).

V. Zagarrio (ed.), "Cinema a antifascismo: alla ricerca di un epos nazionale" (issue "Cinema e Storia. Rivista di studi interdisciplinari", 2015, Rubbettino Editore).

Filmography:

Roberto Rossellini, Roma città aperta (1945)
Yasujirō Ozu, Tōkiō Monogatari (Viaggio a Tokio, 1953)
Alfred Hitchcock, Rear Window (La finestra sul cortile, 1954)
Jean-Luc Godard, À bout de souffle (Fino all’ultimo respiro, 1960)
Dino Risi, Il sorpasso (1962)
Michelangelo Antonioni, Blow-up (1966)
Martin Scorsese, Taxi Driver (1976)
Brian De Palma, Blow Out (1981)
Jim Jarmusch, Stranger Than Paradise (1984)
James Cameron, Terminator 2: Judgment Day (Terminator 2. Il giorno del giudizio, 1991)
Cristopher Nolan, Memento (2000)

The aim of the course is to offer some fundamental tools to understand the lexicon and some core issues related to the development of the concepts of experience, action and language within the pragmatist rethinking of modern empiricism.
In module A, the analysis of the lexicon and some conceptual issues of D. Hume’ s empiricism will be compared to seminal texts of classical pragmatist philosophers.

Module A:
D. Hume, Ricerca sull’intelletto umano, Laterza 2009.
Ch. S. Peirce, “Il fissarsi della credenza” e “Come rendere chiare le nostre idee”, in Ch. S. Pierce, Scritti scelti, UTET 2008: pp. 185-228 (photocopy).
W. James, Pragmatismo, Aragno 2007: pp. 7-77 e 97-161.

Recommended texts:
R. M. Calcaterra, G. Maddalena, G. Marchetti (ed.), Il Pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci 2017: pp.13-219.
G. Maddalena, Peirce, La Scuola 2015.
S. Marchetti, James, La Scuola 2017.
A. Santucci, Introduzione a Hume, Laterza 2005.

This course offers students an in-depth look at the theoretical and methodological aspects of Cultural History. In particular, the class will be focused on the cultural and social factors of the transition to the contemporary age.

- P. Burke, La storia culturale, Bologna, il Mulino, 2009, pp. 232, € 13,00

A book to be chosen among:
- B. Anderson, Comunità immaginate. Origini e fortuna dei nazionalimi, Roma, Manifestolibri, 2009 (pp. 238, € 20,00)
- E.W. Said, Orientalismo. L’immagine europea dell’Oriente, Milano, Feltrinelli, 2016 (pp. 395, € 23,00)
- S. Kern, Il tempo e lo spazio. La percezione del mondo tra Otto e Novecento, Bologna, il Mulino, 2007, pp. 448, € 23,00

ITALIAN CINEMA FROM NEO-REALISM TO COMEDY ITALIAN STYLE
Program: The first part is dedicated to the most emblematic theories, films, authors, figures and styles of post-war cinema. The major works of Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Giuseppe De Santis, Pietro Germi are analyzed. Particular emphasis is given to the thought and practices of Cesare Zavattini. In the second part, the comedy is tackled through a multiplicity of points of view concerning the genre status, the narrative models, the types of characters, the divistic icons, the styles, the ways of production and reception. The most significant films of Dino Risi, Mario Monicelli, Luigi Comencini, Pietro Germi and Antonio Pietrangeli are analyzed. We trace the contemporary debate and subsequent reflections in historical-critical and theoretical fields.

TEXTS: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (in particular pp. 127-303); Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; Maurizio Grande, La commedia all’italiana, edited by Orio Caldiron, Bulzoni, Roma 2003; texts compiled by the teacher (that can be bought, at the beginning of the course, at the copisteria of 11, via G. Rocco). Students which will not follow the course must read also Mariapia Comand, Commedia all’italiana, Il Castoro, Milano 2010.
FILMOGRAPHY: 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; Due soldi di speranza (1951) by R. Castellani; Pane, amore e fantasia (1953) by L. Comencini; La strada (1954) by F. Fellini; Il grido (1957) by M. Antonioni; I soliti ignoti (1958) by M. Monicelli; La grande guerra (1959) by M. Monicelli; Tutti a casa (1960) by L. Comencini; Il sorpasso (1962) by D. Risi; Il professore (ep. Controsesso, 1963) by M. Ferreri; Sedotta e abbandonata (1964) by P. Germi; Io la conoscevo bene (1965) by A. Pietrangeli; C’eravamo tanto amati (1974) by E. Scola. 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 topic of the course concerns the development of musical criticism, seen in its historical and methodological dimension, from the late eighteenth century up to current times. The theme will be introduced by a series of lessons dedicated to the concept of musical communication.

Selected essays provided by the teacher, available in copy shops in via Giulio Rocco

Contemporary French Literature
6cfu
II semester
Jean Cayrol and Jean Genet, two authors compared. Starting from the definition of the sacred by Georges Bataille, this course analyses the different forms that this notion acquires in the theatrical works of the two authors, who have been both deeply changed by the experience of prison: Cayrol, who was deported in a concentration camp, is the father of the ‘Lazarian’ literature and theatre. Jean Genet, who was sentenced to jail for theft, has been the interpreter of the misfit and of the outsider, with a privileged attention paid to sexual transgressions.

SYLLABUS

1. HISTORY OF LITERATURE:
1. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters III to IX).

2. PRIMARY WORKS:
Jean Cayrol, Lazzaro fra di noi, edited by Marina Galletti, Trieste. Nonostante, 2016
Jean Genet; Sorveglianza speciale; I paraventi. Introduction by Gian Renzo Marteo ; translation by Giorgio Caproni,Torino : Einaudi, 1987.
Jean Genet, Le serve. Introduction by Jean-Paul Sartre; Translation by Giorgio Caproni Torino, Einaudi, 1982.
Albet Camus, Stato d’assedio, Milano, Bompiani, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4.CRITICISM
- AA.VV., Jean Cayrol, dalla notte e dalla nebbia. La scritura dell’esperienza concentrazionaria a cura di Marina Galleti, Torino, Kaplan, 2010
- AA.VV., Jean Genet La scrittura della rivolta edited by Marina Galletti e Ilaria Rigano, Editoria e teatro, 2016.
Students who do not attend lessons regularly also need to study:
- L’immoralità leggendaria. Il teatro di Jean Genet, a cura di Sergio Colomba e Albert Dichy, Ubulibri, 1990.
- Georges Bataille, La nozione di dispendio a cura di Elena Pulcini, Armando.
- Marina Galletti, Alle origini del teatro lazzariano: “L’état de siège” di Albert Camus e “Le diable qui n’est à persone” di Cayrol, in Un’idea di Francia. Scritti per Gianfranco Rubino, a cura di Anna Maria Scaiola, Vecchiarelli, Manziana (Roma), 2013, pp. 109-118.
- Margareth, Amatulli, La nebbia della storia, Jean Cayrol e la scrittura del ritorno, in Lazzaro risorto, Trieste, Parnaso, 2000.

5. FILMOGRAPHY:
- Alain Resnais, Muriel ou le temps d’un retour (1963). Script by Jean Cayrol (tr. it. Muriel il tempo del ritorno, Ripley’s Home video (dvd), 2005.
-Alain Resnais, Nuit et brouillard. Script by Jean Cayrol (tr. it.: Notte e nebbia, Ripley’s Home video (dvd), 2007.

NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

SYLLABUS

1. HISTORY OF LITERATURE:
1. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters III to IX).

2. PRIMARY WORKS:
Jean Cayrol, Lazzaro fra di noi, edited by Marina Galletti, Trieste. Nonostante, 2016
Jean Genet; Sorveglianza speciale; I paraventi. Introduction by Gian Renzo Marteo ; translation by Giorgio Caproni,Torino : Einaudi, 1987.
Jean Genet, Le serve. Introduction by Jean-Paul Sartre; Translation by Giorgio Caproni Torino, Einaudi, 1982.
Albet Camus, Stato d’assedio, Milano, Bompiani, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4.CRITICISM
- AA.VV., Jean Cayrol, dalla notte e dalla nebbia. La scritura dell’esperienza concentrazionaria a cura di Marina Galleti, Torino, Kaplan, 2010
- AA.VV., Jean Genet La scrittura della rivolta edited by Marina Galletti e Ilaria Rigano, Editoria e teatro, 2016.
Students who do not attend lessons regularly also need to study:
- L’immoralità leggendaria. Il teatro di Jean Genet, a cura di Sergio Colomba e Albert Dichy, Ubulibri, 1990.
- Georges Bataille, La nozione di dispendio a cura di Elena Pulcini, Armando.
- Marina Galletti, Alle origini del teatro lazzariano: “L’état de siège” di Albert Camus e “Le diable qui n’est à persone” di Cayrol, in Un’idea di Francia. Scritti per Gianfranco Rubino, a cura di Anna Maria Scaiola, Vecchiarelli, Manziana (Roma), 2013, pp. 109-118.
- Margareth, Amatulli, La nebbia della storia, Jean Cayrol e la scrittura del ritorno, in Lazzaro risorto, Trieste, Parnaso, 2000.

5. FILMOGRAPHY:
- Alain Resnais, Muriel ou le temps d’un retour (1963). Script by Jean Cayrol (tr. it. Muriel il tempo del ritorno, Ripley’s Home video (dvd), 2005.
-Alain Resnais, Nuit et brouillard. Script by Jean Cayrol (tr. it.: Notte e nebbia, Ripley’s Home video (dvd), 2007.

NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical works

Basic sound physics concepts and definition of musical sound sources. Basic concepts of musical theory (rhythm, melody, harmony). Basic concepts on the operation of the main instruments used for recording and playback (microphones, amplifiers, mixers and equalizers, loudspeakers). Sampling of sound. Introduction to Audio Files and MIDI. The physical and logical sequencers. Practical examples of professional music software management in the various phases of writing music tracks, equalization, reverberation, compression, harmonic excitement, stereophonic image creation, limiter and dithering use.

- Laboratorio di Tecnologie Musicali vol. 1 e 2 - D'AGOSTINO M. DE SIENA L. PAOLOZZI G. CAPPELLANI G, De Siena L, Paolozzi G
- handouts by the teacher

A) Lectures at DAMS University Roma3: 1) background information on the context of the contemporary prison; 2) items of information on the relationship between aesthetics and ethics with specific application to the context of the theater with social worth.
B) Workshop at the Theatre of the Rebibbia prison: 1) direct interaction with the work carried out by the inmates-actors at the Theatre of the Prison.
C) Each student must prepare a final report on the experience of the Laboratory.

handouts provided by the teacher
FILMOGRAPHY:
"Caesar Must Die" by Paolo and Vittorio Taviani.
"Naufragio con spettatore" di Fabio Cavalli

The workshop aims to develop entrepreneurial skills for the establishment of new cultural and entertainment projects.

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

FRENCH THEATRE OF THE 17TH CENTURY

First semester

PROGRAM:

French theatre of the 17th century. This course focuses on the history of 17th and 18th century French literature, especially in relation to the features of the classical theatre, through the analysis of some emblematic texts and of two iconic movies (Molière by Ariane Mnouchkine and Il Don Giovanni by Losey).

SYLLABUS:

1. HISTORY OF LITERATURE :
Giovanni MACCHIA, La letteratura francese dal Rinascimento al Classicismo, any recent edition (a selection of chapters will be available for those who attend lessons on a regular basis)

2. PRIMARY WORKS:
- MOLIÈRE, Don Giovanni (bilingual edition) edited by Delia Gambelli, Marsilio, 1997 ;
- Wolfgang A. MOZART e Lorenzo DA PONTE, Il dissoluto punito o sia il Don Giovanni, in Lorenzo DA PONTE, Memorie- libretti-mozartiani, Garzanti, 2003;
- Jean RACINE, Fedra : variazioni sul mito. A cura di Maria Grazia Ciani, Marsilio, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout, as El Burlador by Tirso de Molina.

4. CRITICISM:
Students must choose 3 texts (those attending lessons regularly only have to choose 2 texts) from the following list:
-Giovanni MACCHIA, Vita, avventure e morte di Don Giovanni, Adelphi, 1991;
-Cesare GARBOLI, Il “Dom Juan” di Molière, Adelphi, 2005;
-Francesco Orlando, Due letture freudiane: Fedra e il Misantropo, Piccola Biblioteca Einaudi, 1990;
-Roland BARTHES, Sur Racine, Seuil; trad. it. in Saggi critici, Einaudi, 1972;
-Jean-Louis BARRAULT, Mise en scène de “Phèdre”, Seuil, 1972;
- Francesco FIORENTINO, Il teatro francese del Seicento, Laterza, 2008;
-Appendice di MOLIÈRE, Don Giovanni, trad. it. S. Bajini, Garzanti, 1993.

5.FILMOGRAPHY:
Joseph LOSEY, Don Giovanni (1979). Movie adaptation of Mozart’s and Da Ponte’s opera. DVD;
Ariane MNOUCHKINE, Molière, (1978). DVD.


NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

1. HISTORY OF LITERATURE :
Giovanni MACCHIA, La letteratura francese dal Rinascimento al Classicismo, any recent edition (a selection of chapters will be available for those who attend lessons on a regular basis)

2. PRIMARY WORKS:
- MOLIÈRE, Don Giovanni (bilingual edition) edited by Delia Gambelli, Marsilio, 1997 ;
- Wolfgang A. MOZART e Lorenzo DA PONTE, Il dissoluto punito o sia il Don Giovanni, in Lorenzo DA PONTE, Memorie- libretti-mozartiani, Garzanti, 2003;
- Jean RACINE, Fedra : variazioni sul mito. A cura di Maria Grazia Ciani, Marsilio, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4. CRITICISM:
Students must choose 3 texts (those attending lessons regularly only have to choose 2 texts) from the following list:
-Giovanni MACCHIA, Vita, avventure e morte di Don Giovanni, Adelphi, 1991;
-Cesare GARBOLI, Il “Dom Juan” di Molière, Adelphi, 2005;
-Francesco Orlando, Due letture freudiane: Fedra e il Misantropo, Piccola Biblioteca Einaudi, 1990;
-Roland BARTHES, Sur Racine, Seuil; trad. it. in Saggi critici, Einaudi, 1972;
-Jean-Louis BARRAULT, Mise en scène de “Phèdre”, Seuil, 1972;
- Francesco FIORENTINO, Il teatro francese del Seicento, Laterza, 2008;
-Appendice di MOLIÈRE, Don Giovanni, trad. it. S. Bajini, Garzanti, 1993.

5.FILMOGRAPHY:
Joseph LOSEY, Don Giovanni (1979). Movie adaptation of Mozart’s and Da Ponte’s opera. DVD;
Ariane MNOUCHKINE, Molière, (1978). DVD.

The module analyzes the staging, style, and autorial dynamics of Italian cinema from Neorealism to the so-called "New-New Italian Cinema".

The course therefore addresses the scenario of modern and contemporary Italian film, investigating genres (including the old and new Italian comedy), direction, language and grammar, combining the technical and aesthetic approach. Through a review of the history of Italian cinema, the course offers a theoretical tool on how to do "movie analysis".

The course also includes the presence of some guests, who will testify the validity of the "New Italian Cinema", also during the Conference of the Department of Philosophy Communication and Entertainment dedicated to Italian Cinema (28-29 November 2017)

- Vito Zagarrio, Regie. La messa in scena del grande cinema italiano, Roma, Bulzoni, 2011.

- F. Montini, V. Zagarrio (ed.), Istantanee sul cinema italiano. Film, volti, idee del nuovo millennio, Rubbettino, Soveria Mannelli, 2012.

FUNDAMENTS OF THE SCIENTIFIC DEBATE ON PSYCHOLOGY. HISTORY OF PSYCHOANALYSIS. FREUD AND BREUER. FREUD AND FLIESS. FREUD AND JUNG. THE ORIGIN OF THE TECHNIQUE OF FREE ASSOCIATION. THE FIRST AND SECOND FREUDIAN TOPIC. ETIC AND FREUDIAN THEORY. THE INTERPRETATION OF DREAMS. FREUD AND MOSES OF MICHELANGELO. FREUD'S JEWISH HERITAGE. THE ORIGIN OF THE PSYCHOANALYTIC MOVEMENT IN ITALY.

S. FREUD, IL MOSE' DI MICHELANGELO. IN OPERE COMPLETE BY SIGMUND FREUD.
S. FREUD, L'INTERPRETAZIONE DEI SOGNI. IN OPERE COMPLETE BY SIGMUND FREUD.
E BONAVENTURA (1938). LA PSICOANALISI. (ED. D. Meghnagi). VENEZIA: MARSILIO, 2016.
D. MEGHNAGI, IL PADRE E LA LEGGE. VENEZIA: MARSILIO, 2016

Laboratory Proposal
The real body: the performative practices of Buto Blanc and of Ephesus Technique

The combined training and creation path, open to all interested students, combining professionals and non-professionals in search of new perceptual and performance modes in dance, aims to create basic body language among participants, using as a reference the method of White Dicker Masaki Iwana's work in a first part of the work and initiation at Euritmia through the Ephesus Technique of Master Akira Kasai in a second part. Every meeting will open with a time to devote to training. As requested and suggested by oriental cultures, exercise will not only be important for its mechanical function of mere warming but above all as a condition necessary to awaken important dance attitudes. Through certain exercises, you will gradually seek to gain elasticity and balance, to activate an intuitive intelligence of the body and a readiness and effectiveness in action. It will be important to educate the students to simple respiratory techniques that are able to make the bony and muscular structure softer and more accessible and free the joints of the joints, making them empty and receptive places, thus allowing a more organic passage of energy into action and a richer presence in space. The basic experience of living your body is a perception that is already nurtured in training. More specifically, the practice introduced by Buto Blanc in his orthodox lines takes the name of "The life of a plant" and identifies eight defined dance models that translate the body's organic mechanism in a poetic and indirect way, associating it with images taken from phenomenal mode of Nature. We will then approach bodily modes that will allow the realization of the old type, the type of woman, the samurai, the young, among the most used in human exploration and dance exercises related to the visualization of plant phenomena and animals such as bloom, drooling, fog, pollen, wind, and animal. As the well-trained in the research movement of Anku Buto and Steinerian Euritmia, the intent is to return and deepen the integrity of the human being with the macro and micro cosmos, to rebalance the physical and spiritual resources specific to each individual and make this fertile and creative ground an artistic humus, a springboard to try to advance in the field of performing arts. In this sense, the emphasis will be placed on the inner nature of the body, its natural and natural state, sensibilities and propedeutic instruments to interrogate about the material manifestation of the body, its internal dynamics, reflected by deep organic mechanisms. These bodily states will be investigated in their different quantitative and qualitative levels to approach a more personal dance, in the passages of a dance of inspiration before and of a free dance afterwards. With the Ephesian technique, voice work will be introduced, namely vocalization of vocals and language consonants, for a greater awareness of the dynamics between an interior and personal space and an external, choral and shared space. The vigor of vocalization from a subtle point of view will intercept the invisible and essential dimension of the generating energy of the creative act. They will explore structures of Steinerian Euritmia, which train to move organically into space in all directions and perceive it in all its volumes. Each participant will begin with more intuitive creative faculties, through the strategic use of images for dance. It is to offer words, phrases, poetic verses of Western and Oriental culture as a mysterious orientation, an enigmatic path to follow in discovering one's inner landscape. Surprising and effective in this sense the haiku's evocative and alogic force. These short poetic compositions considered the ultimate expression of zen culture are distinguished by the conciseness and fugacity of their images. The Haiku experience phenomenal reality beyond its visible aspect as a unity of spirit and matter; suggest an instantaneous and emotional perception of reality that is transmitted directly from the senses with which it is grasped to a more intimate understanding of it. To explore the performative possibilities, the quest to be made is spiritual, meaning for the spiritual that the man's tendency to reach the essence and the structure of his own interiority. The laboratory includes an open and final act as an opening to the public.

Alessandra Cristiani, "Masaki Iwana e la tradizione del Butō Bianco. Metodologia della danza" e "Un’ulteriore riflessione" in "Trasform’azioni - Rassegna internazionale di danza butō. Fotografia di un’esperienza" edited by Samantha Marenzi, Editoria e Spettacolo, Roma 2010.

FRENCH THEATRE OF THE 17TH CENTURY

First semester

PROGRAM:

French theatre of the 17th century. This course focuses on the history of 17th and 18th century French literature, especially in relation to the features of the classical theatre, through the analysis of some emblematic texts and of two iconic movies (Molière by Ariane Mnouchkine and Il Don Giovanni by Losey).

SYLLABUS:

1. HISTORY OF LITERATURE :
Giovanni MACCHIA, La letteratura francese dal Rinascimento al Classicismo, any recent edition (a selection of chapters will be available for those who attend lessons on a regular basis)

2. PRIMARY WORKS:
- MOLIÈRE, Don Giovanni (bilingual edition) edited by Delia Gambelli, Marsilio, 1997 ;
- Wolfgang A. MOZART e Lorenzo DA PONTE, Il dissoluto punito o sia il Don Giovanni, in Lorenzo DA PONTE, Memorie- libretti-mozartiani, Garzanti, 2003;
- Jean RACINE, Fedra : variazioni sul mito. A cura di Maria Grazia Ciani, Marsilio, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout, as El Burlador by Tirso de Molina.

4. CRITICISM:
Students must choose 3 texts (those attending lessons regularly only have to choose 2 texts) from the following list:
-Giovanni MACCHIA, Vita, avventure e morte di Don Giovanni, Adelphi, 1991;
-Cesare GARBOLI, Il “Dom Juan” di Molière, Adelphi, 2005;
-Francesco Orlando, Due letture freudiane: Fedra e il Misantropo, Piccola Biblioteca Einaudi, 1990;
-Roland BARTHES, Sur Racine, Seuil; trad. it. in Saggi critici, Einaudi, 1972;
-Jean-Louis BARRAULT, Mise en scène de “Phèdre”, Seuil, 1972;
- Francesco FIORENTINO, Il teatro francese del Seicento, Laterza, 2008;
-Appendice di MOLIÈRE, Don Giovanni, trad. it. S. Bajini, Garzanti, 1993.

5.FILMOGRAPHY:
Joseph LOSEY, Don Giovanni (1979). Movie adaptation of Mozart’s and Da Ponte’s opera. DVD;
Ariane MNOUCHKINE, Molière, (1978). DVD.


NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

1. HISTORY OF LITERATURE :
Giovanni MACCHIA, La letteratura francese dal Rinascimento al Classicismo, any recent edition (a selection of chapters will be available for those who attend lessons on a regular basis)

2. PRIMARY WORKS:
- MOLIÈRE, Don Giovanni (bilingual edition) edited by Delia Gambelli, Marsilio, 1997 ;
- Wolfgang A. MOZART e Lorenzo DA PONTE, Il dissoluto punito o sia il Don Giovanni, in Lorenzo DA PONTE, Memorie- libretti-mozartiani, Garzanti, 2003;
- Jean RACINE, Fedra : variazioni sul mito. A cura di Maria Grazia Ciani, Marsilio, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4. CRITICISM:
Students must choose 3 texts (those attending lessons regularly only have to choose 2 texts) from the following list:
-Giovanni MACCHIA, Vita, avventure e morte di Don Giovanni, Adelphi, 1991;
-Cesare GARBOLI, Il “Dom Juan” di Molière, Adelphi, 2005;
-Francesco Orlando, Due letture freudiane: Fedra e il Misantropo, Piccola Biblioteca Einaudi, 1990;
-Roland BARTHES, Sur Racine, Seuil; trad. it. in Saggi critici, Einaudi, 1972;
-Jean-Louis BARRAULT, Mise en scène de “Phèdre”, Seuil, 1972;
- Francesco FIORENTINO, Il teatro francese del Seicento, Laterza, 2008;
-Appendice di MOLIÈRE, Don Giovanni, trad. it. S. Bajini, Garzanti, 1993.

5.FILMOGRAPHY:
Joseph LOSEY, Don Giovanni (1979). Movie adaptation of Mozart’s and Da Ponte’s opera. DVD;
Ariane MNOUCHKINE, Molière, (1978). DVD.

FUNDAMENTS OF THE SCIENTIFIC DEBATE ON PSYCHOLOGY. HISTORY OF PSYCHOANALYSIS. FREUD AND BREUER. FREUD AND FLIESS. FREUD AND JUNG. THE ORIGIN OF THE TECHNIQUE OF FREE ASSOCIATION. THE FIRST AND SECOND FREUDIAN TOPIC. ETIC AND FREUDIAN THEORY. THE INTERPRETATION OF DREAMS. FREUD AND MOSES OF MICHELANGELO. FREUD'S JEWISH HERITAGE. THE ORIGIN OF THE PSYCHOANALYTIC MOVEMENT IN ITALY.

S. FREUD, IL MOSE' DI MICHELANGELO. IN OPERE COMPLETE BY SIGMUND FREUD.
S. FREUD, L'INTERPRETAZIONE DEI SOGNI. IN OPERE COMPLETE BY SIGMUND FREUD.
E BONAVENTURA (1938). LA PSICOANALISI. (ED. D. Meghnagi). VENEZIA: MARSILIO, 2016.
D. MEGHNAGI, IL PADRE E LA LEGGE. VENEZIA: MARSILIO, 2016

This Lab is for the students who want to work in the college radio station www.radio.uniroma3.it. They will be involved in the daily activities of the radio and may be asked to work as:
- speaker ;
- author/producer/reporter ;
- editor ;
- project manager ;
- web manager ;
- social media manager.
Particular activities might be the work on the schedule, the management of the musical archive, the writing of the shows, the production of the podcasts, the editing and directing of the daily broadcasts, the writing and management of the website and of the social media.

Picture and action between legacy and invention: Antiquity, Renaissance and the early 20th century. The representation of movement and the theater as image. Dance and photography as arts: protagonists and collaborations.

Claudia Cieri Via, Introduzione a Aby Warburg, Laterza, Bari 2011; Isadora Duncan, L’arte della danza, edited by Patrizia Veroli, Dino Audino Editore, Roma 2016; Papers edited by the teacher available to download at http://www.iconografiadelteatroedelladanza.it/dispense/
Those who do not attend the lessons must add Lorenzo Mango, L’officina teorica di Edward Gordon Craig, Titivillus, Pisa 2015.

After presenting the theoretical elements on the process of filmmaking (pre-production, production and post-production), students will realise a short film working with the Professor and measuring with the difficulties proposed by the various production phases.

There is not a course book.

After presenting the theoretical elements of the process of filmmaking (pre-production, production and post-production), students will realise a short film with the Professor, confront themselves with the problems of video-production.

There is not a course book.

After a general introduction on digital art concepts and "hacker attitude", the course will show some examples of artistic digital use. These will show and explain the reasons and the design approaches of different works and artists. Students will then be invited to produce, individually or in small groups of three people, one of their projects accomplished with the supplied technologies, or to develop the presentation of a project which requires not available equipment. Students must already be able to accomplish basic tasks of filming and editing, how to surf the Internet and / or use basic programs of digital graphics. It is obligatory to have a mail box to keep in touch with the teacher.

Giacomo Verde – ARTIVISMO TECNOLOGICO, scritti e interviste su arte, politica, teatro e tecnologie - Ed. BFS, Pisa – 2007
Download: http://www.verdegiac.org/artivismo.html

First World War, history and literature

a) «Le notti chiare erano tutte un’alba», edited by Bompiani (forthcoming)

b) plus one author, by choice, among:

Federico De Roberto, «La paura e altri racconti di guerra», a cura di Gabriele Pedullà, Garzanti 2015

Giovanni Comisso, «Giorni di guerra», Longanesi 2009

Carlo Emilio Gadda, «Giornale di guerra e di prigionia», Garzanti 2001

Emilio Lussu, «Un anno sull’altipiano», Einaudi 2014

c) to give a context in the 20th and 21st century italian literary history:
Giulio Ferroni, «Storia della letteratura italiana», vol. IV: «Il Novecento e il nuovo millennio», Milano, Mondadori Università, 2012

Non-attending students:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori.
Reference Book: Stefano De Matteis, Le false libertà. Verso la postglobalizzazione, Milano, Meltemi.

And a third one according to the curricula among the following ones:
Theatre: Victor Turner, Dal rito al teatro, Bologna, Il mulino;
Cinema: Edgar Morin, Il cinema o l'uomo immaginario, Milano, Cortina;
Languages and Mediation: Ngugi wa Thiongo, Spostare il centro del mondo. La lotta per le libertà culturali, Milano, Meltemi;
Philosophy: Victor Turner, Antropologia dell'esperienza, Bologna, Il mulino;
History: Ernesto de Martino, La terra del rimorso. Contributo a una storia religiosa del Sud, Milano, Il saggiatore.

The aim of the course is to offer some fundamental tools to understand the lexicon and some core issues related to the development of the concepts of experience, action and language within the pragmatist rethinking of modern empiricism.
In module A, the analysis of the lexicon and some conceptual issues of D. Hume’ s empiricism will be compared to seminal texts of classical pragmatist philosophers.

Module A:
D. Hume, Ricerca sull’intelletto umano, Laterza 2009.
Ch. S. Peirce, “Il fissarsi della credenza” e “Come rendere chiare le nostre idee”, in Ch. S. Pierce, Scritti scelti, UTET 2008: pp. 185-228 (photocopy).
W. James, Pragmatismo, Aragno 2007: pp. 7-77 e 97-161.

Recommended texts:
R. M. Calcaterra, G. Maddalena, G. Marchetti (ed.), Il Pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci 2017: pp.13-219.
G. Maddalena, Peirce, La Scuola 2015.
S. Marchetti, James, La Scuola 2017.
A. Santucci, Introduzione a Hume, Laterza 2005.

PROGRAM
The course introduces the most relevant theories of empirical research, with a specific focus on the methods and techniques of empirical research. Aim of the course is to shed light on the complex theoretical and empirical trajectories of empirical research in communication and on the ethical tensions that arise when doing research. The lessons will illustrate examples of research conducted in different fields to describe the possible research strategies and include practices to clarify the use of each technique.

COURSE BOOKS
1) Gobo G. (2001), Descrivere il mondo. Teoria e pratica del metodo etnografico in sociologia, Carocci, Roma;
2) Griswold W. (2009), Un framework metodologico per lo studio della cultura, in Santoro e Sassatelli (ed.), Studiare la cultura. Nuove prospettive sociologiche, Il Mulino, Bologna, pp. 253-285 (chapter 9, essay made available to the students).

The course is formally divided in two classes (A-L taught by Enrico Menduni and M-Z taught by Marta Perrotta), but all students will be able to attend the whole teaching of both docents, thanks to lessons held in compatible time slots.
The course offers 4 modules, each of them composed by 6 three-hours frontal lessons.
First two modules, Television (taught by Enrico Menduni), and Radio (taught by Marta Perrotta), are compulsory for all students, both A-L and M-Z.
Two further modules will deal with monographic themes; regarding final exams, students can choose one only of the two.
- Enrico Menduni will teach a module on: “Terrorism Videos, since September 11 to ISIS”;
- Marta Perrotta will teach a module on: “Larger than life. Factual and fictional in contemporary TV production”.
Students attending these modules will be provided with and addictional bibliography of suggested texts.

Students are invited to visit the docents’ website www.mediastudies.it where further information is provided. Lesson recordings, notes, slides, links, additional stuff will be available there.

E. Menduni, Radio e televisione nel XXI secolo, Roma-Bari, Laterza, 2016
E. Menduni, Il mondo della radio. Dal transistor ai social network, Bologna, il Mulino, 2012 (cover with purple belt, not red belt)

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it
Students attending Monographic modules ("Terrorism Videos, since September 11 to ISIS" e “Larger than life. Factual and fictional in contemporary TV production”) will be provided with and addictional bibliography of suggested texts.

Students not mastering Italian can apply to the docents and assistants to be addressed to textbooks in other languages.

The course is formally divided in two classes (A-L taught by Enrico Menduni and M-Z taught by Marta Perrotta), but all students will be able to attend the whole teaching of both docents, thanks to lessons held in compatible time slots. The course offers 4 modules, each of them composed by 6 three-hours frontal lessons. First two modules, Television (taught by Enrico Menduni), and Radio (taught by Marta Perrotta), are compulsory for all students, both A-L and M-Z. Two further modules will deal with monographic themes; regarding final exams, students can choose one only of the two.
- Enrico Menduni will teach a module on: “Terrorism Videos, since September 11 to ISIS”;
- Marta Perrotta will teach a module on: “Larger than life. Factual and fictional in contemporary TV production”.
Students attending these modules will be provided with and addictional bibliography of suggested texts.

Reference books
- E. Menduni, Radio e televisione nel XXI secolo, Roma-Bari, Laterza, 2016
- E. Menduni, Il mondo della radio. Dal transistor ai social network. Seconda edizione riveduta, Bologna, il Mulino, 2012 (cover with purple belt, not red belt).

- E. Menduni, Radio e televisione nel XXI secolo, Roma-Bari, Laterza, 2016
- E. Menduni, Il mondo della radio. Dal transistor ai social network. Seconda edizione riveduta, Bologna, il Mulino, 2012 (cover with purple belt, not red belt).

Reference books must be mandatorily implemented with lesson recordings, notes, slides, links, additional stuff that will be available on this site. Students attending monographic modules will be provided with and addictional bibliography of suggested texts.

Students not mastering Italian can apply to the docents and assistants to be addressed to textbooks in other languages.

Theoretical contextualization of Electronic Arts’ experience in the chronologies and histories of the Arts, in relationship with Cinema, Television, Sound and Contemporary Art histories: focus on the Italian case.

- M. M. Gazzano, "Kinema. Il cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno", Exorma, Roma 2012, 2015.
- L. Leuzzi, S. Partridge, "REWIND/Italia. Early Video Art in Italy / I primi anni della videoarte in Italia", John Libbey Publishing, New Barnet 2016 (Italian/English).

Optional:
- A. Amaducci, "Videoarte. Storia, autori, linguaggi", Kaplan, Torino 2014;
- G. Balbi, P. Magaudda, "Storia dei media digitali. Rivoluzioni e continuità", Laterza, Bari 2014.
- V. Catricalà, "Media Art. Towards a New Definition of Arts in the Age of Technology", Gli Ori, Pistoia 2015

Foreign Students can plan specific bibliographies with the Professor and the Tutors.

If someone would like to better examine (and optionally) the Course issues, can consult the list “Programmi dei Corsi” on Dams / Gazzano website

The course considers film narrative and style from the classic period to contemporary cinema. We will analyse, among others, Hitchcock's Notorious (1946). The last part of the course will consider narration and style in tv series such as Twin Peaks (1990-1) and Friends (1994-2004).

TESTI PER L’ESAME:
a) Veronica Pravadelli, Alfred Hitchcock. Notorious, 2° ed., Lindau, Torino, 2007
b) Kristin Thompson, Storytelling. Forme del racconto tra cinema e televisione, Soveria Mannelli, Rubbettino, 2012
c) Course packet c/o Copisteria CLP di Via G. Rocco 11:
David Bordwell e Kristin Thompson, Cinema come arte, Milano, Il Castoro, 2003, pp. 352-364, 371-375.
Giaime Alonge e Silvio Alovisio, “Glossario” in P. Bertetto, a cura di, Introduzione alla storia del cinema, Torino, Utet, 2012, pp. 353-363.
Veronica Pravadelli (1), “Susanna e le strutture formali della classicità, in P. Bertetto, a cura di, L’interpretazione dei film, Venezia, Marsilio, 2003 e succ. ed.
Laura Mulvey, “Piacere visivo e cinema narrativo” in Cinema e piacere visivo, ed. V. Pravadelli, Roma, Bulzoni, 2013.
Christian Metz, “Il cinema moderno e la narratività” in Semiologia del cinema, Milano, Garzanti, 1972.
Veronica Pravadelli (2), “Moderno/postmoderno: elementi per una teoria” in B. Torri, a cura di, Nuovo cinema (1965-2005). Scritti in onore di Lino Micciché, Venezia, Marsilio, 2005, pp. 66-79.
P. Bertetto, “L'analisi interpretativa. Mulholland Drive,” in Id., a cura di, Metodologie di analisi del film, Roma-Bari, Laterza, 2006 e succ. ed.
Veronica Pravadelli (3), “Postmoderno e nuova spettatorialità” in G. De Vincenti e E. Carocci, a cura di, Il cinema e le emozioni, Roma, Edizioni Fondazione Ente dello Spettacolo, 2012.
Jason Mittell, “La complessità narrativa nella televisione americana contemporanea” in V. Innocenti e G. Pescatore, Le nuove forme della serialità televisiva, Bologna, Archetipolibri, 2008, pp. 121-132.
Paola Brembilla e Guglielmo Pescatore, “La serialità televisiva americana: produzione, consumo e tipologie di prodotto”, in America oggi. Cinema, media, narrazioni del nuovo secolo, a cura di G. Carluccio, Kaplan, Torino 2014, pp. 275-290.
*Per un approfondimento dell’analisi degli elementi di base del linguaggio e del racconto si consulti Cinema come arte di Bordwell e Thompson (Milano, Il Castoro, 2003).
c) FILM: Bringing Up Baby (Susanna, H. Hawks, 1938), Notorious (A. Hitchcock 1946), Mulholland Drive (D. Lynch, 2001) episodi scelti di Twin Peaks (D. Lynch, 1990-1) e Friends (1994-2004).

ITALIAN CINEMA FROM NEO-REALISM TO COMEDY ITALIAN STYLE
Program: The first part is dedicated to the most emblematic theories, films, authors, figures and styles of post-war cinema. The major works of Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Giuseppe De Santis, Pietro Germi are analyzed. Particular emphasis is given to the thought and practices of Cesare Zavattini. In the second part, the comedy is tackled through a multiplicity of points of view concerning the genre status, the narrative models, the types of characters, the divistic icons, the styles, the ways of production and reception. The most significant films of Dino Risi, Mario Monicelli, Luigi Comencini, Pietro Germi and Antonio Pietrangeli are analyzed. We trace the contemporary debate and subsequent reflections in historical-critical and theoretical fields.

TEXTS: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (in particular pp. 127-303); Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; Maurizio Grande, La commedia all’italiana, edited by Orio Caldiron, Bulzoni, Roma 2003; texts compiled by the teacher (that can be bought, at the beginning of the course, at the copisteria of 11, via G. Rocco). Students which will not follow the course must read also Mariapia Comand, Commedia all’italiana, Il Castoro, Milano 2010.
FILMOGRAPHY: 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; Due soldi di speranza (1951) by R. Castellani; Pane, amore e fantasia (1953) by L. Comencini; La strada (1954) by F. Fellini; Il grido (1957) by M. Antonioni; I soliti ignoti (1958) by M. Monicelli; La grande guerra (1959) by M. Monicelli; Tutti a casa (1960) by L. Comencini; Il sorpasso (1962) by D. Risi; Il professore (ep. Controsesso, 1963) by M. Ferreri; Sedotta e abbandonata (1964) by P. Germi; Io la conoscevo bene (1965) by A. Pietrangeli; C’eravamo tanto amati (1974) by E. Scola. 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 laboratory intends to develop and deepen the themes, styles, authors and trends of contemporary photography with a special regard to the photographic display, intended as exhibitions and therefore the natural outcome of many of the contemporary photographic projects.
Contemporary photography and its, so to speak, “phototelling” will therefore be the topic on which the lessons and work sessions that will involve the students will be based
The laboratory will in fact be divided into 3 parts:
- elements of the history of photography;
- story of photographic exhibitions as a possibility to show, to realise a project;
- practice.
From the themes and the problems related to the realisation of the exhibitions to some exercises on exhibitions made or underway, such as "War Shadows" and "Magnum Manifesto", where we will take a guided tour of the Ara Pacis Museum in Rome.

The final test will require a lay out based on a selection of images provided in class.
Mandatory readings:

Walter Benjamin, L’opera d’arte nell’epoca della sua riproducibilità tecnica – arte e società di massa, Torino, Einaudi.

Roland Barthes, La camera chiara, Torino Einaudi.

Alessandra Mauro, Photoshow – le mostre che hanno segnato la storia della fotografia, Roma, Contrasto, 2014




Suggested reading

Charlotte Cotton, La fotografia come arte contemporanea, Torino, Einaudi, 2015

Giuliana Bruno, Pubbliche intimità – architetture e atri visive, Milano, Bruno Mondadori, 2007

Course content: The course provides a general understanding of the main actors, rules and processes of the modern media system. The first part of the course is devoted to a brief history of Italian journalism in comparison with some of the major foreign models. The second part is devoted to the analysis of the main sectors of the Italian system of information - newspapers, television, radio, publishing, web - and to the structural and quantitative analysis of the market - investment, consumption, audiences-. The third part is devoted to the acquisition of basic knowledge of the vocabulary of journalism and of the treatment process of the news. The fourth part of the course is devoted to the impact of new media on the system of information and to new trends such as the citizen journalism and the Hybrid System News.
The course includes practical end theoretical exercises on various aspects pertaining to the production and the packaging of the news.

Exam texts will be announced at the beginning of the lessons.

CINEMATOGRAFIA DOCUMENTARIA.
The course includes an introductory part related to a historiographic path through documentary cinema, from its origins to its contemporaneity and a monographic part dedicated to Social Movie (aesthetic, historical and textual elements). This year’s course also includes a workshop in which students are invited to make their own social movie dedicated to the university world. As every year, meetings will be organized with the authors, in order to put the students in touch with the professional realities of the sector.



Lessons are given:
16,18 (9-12 hours), 23, 26, April
3, 5 (10-13 hours), 7, 10, 14, 17, 21, 24 May

12-15 hours unless otherwise indicated.

CINEMATOGRAFIA DOCUMENTARIA.

Academic Year 2017-2018

LT- 6 CFU- PROF. PERNIOLA


Bibliography:

Bill Nichols, Introduzione al documentario, Lindau, Torino, 2014

Ivelise Perniola-Luca Caminati (a cura di), Dossier: Nuovi approcci storiografici al cinema documentario, "Imago. Studi di cinema e media", n.15, Bulzoni, 2017.

Remo Scano-Gabriele Peru, Il Social Movie: manuale di istruzioni, 2017.


FILMOGRAFIA:

Sardinia in a day 2017)
Italy in a day (G. Salvatores, 2014)
Life in a day (K. MacDonald, 2011)
Selezione di documentari del British Cinema (1930-1950)
Tutto parla di te (A.Marazzi, 2012)
Cadenza d'inganno (L. Di Costanzo, 2011)
Le italiane e l'amore (1961)
Diario del saccheggio (F. Solanas, 2004)

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 of rights 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 indicated by the teacher

The following chapters are not subject of examination and maybe therefore avoided:
chapter 5: all excluded; chapter 6 all excluded; chapter 7 include only from 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 chapters not listed above are to be fully studied.

This course provides students with an overview on history of photography, its social functions and its role within the wider history of the technically reproduced image. The course discusses its relations with painting and visual arts and connections with most widespread visual devices of contemporaneity: cinema, TV, video, internet. Of course digital photography is included.

- G. d’Autilia, Storia della fotografia in Italia, Torino, Einaudi, 2016 ;
- E. Menduni, Fotografia prima e dopo. Rotture e continuità intorno alla svolta digitale, “Comunicazioni Sociali”, vol. XXXVIII, 2016, n. 1, pp. 15-23 ;
- E. Menduni, La fotografia, Bologna, il Mulino, 2008 (also e-book).

A) Lectures at DAMS University Roma3: 1) background information on the context of the contemporary prison; 2) items of information on the relationship between aesthetics and ethics with specific application to the context of the theater with social worth.
B) Workshop at the Theatre of the Rebibbia prison: 1) direct interaction with the work carried out by the inmates-actors at the Theatre of the Prison.
C) Each student must prepare a final report on the experience of the Laboratory.

handouts provided by the teacher
FILMOGRAPHY:
"Caesar Must Die" by Paolo and Vittorio Taviani.
"Naufragio con spettatore" di Fabio Cavalli

IL TEATRO COMICO by Carlo Goldoni
Dramaturgical analysis of the text and reflections for a possible performance of the play.
Practical exercises for understanding the fundamental aspects of the Goldonian Revolution.

THE COMIC THEATER by Carlo Goldoni

The workshop aims to develop entrepreneurial skills for the establishment of new cultural and entertainment projects.

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

CONTENT: In the first part we will examine how TV production is changing in the new digital environment. In the second part we will focus on a particular stage of the production process (video editing). Students will be involved in an off-line production of a “promo” of a tv program. The promo will be scheduled on a national network. In addiction to the classroom lectures, we will have exercises, visits to studios and television sets, meetings with professionals.

G. Feyles, Il montaggio televisivo, Carocci, 2010
E. Menduni, A. Catolfi, Produrre tv. Dallo studio televisivo a Internet, Laterza, 2009

The arts and the practices of the actors will be analyzed through their relationships with the living knowledge of the theaters.

TEXT BOOKS: Lecture notes edited by the teacher, (available at the beginning of the course on the site https://sites.google.com/com/site/stefanogeraci1); V.Mejercol’d, L’attore biomeccanico, a.c. di F. Malcovati, Milano, Ubulibri, 1993 e succ. ed.
The non-attending students must add to the program one of the following books : J. Comeau, Artigiani di una tradizione vivente: l’attore e la pedagogia teatrale; ed. Maria Ines Aliverti, La casa Usher, 2009; L. Jouvet, Lezioni su Molière, ed. S.Geraci, Officina Edizioni, 2015.

The course aims to highlight the convergence, or even the substantial identity, between the two famous Aristotelian definitions of Homo sapiens: "animal that has language" and "political animal". By studying the texts of some important linguists and philosophers of language (E. Benveniste, JL Austin), as well as the major work of Hannah Arendt, Vita Activa, we would like to clarify the reasons why verbal language should be considered the biological organ of public practice.

G. Graffi, S. Scalise, Le lingue e il linguaggio. Introduzione alla linguistica, Il Mulino, limitatamente ai capitoli I, II, VII, VIII (excluding the in-depth paragraphs marked with an asterisk). To buy
NOTES BY PROF. VIRNO, Il parlante come artista esecutore. Available in photocopy.
Text P. Virno, to be read in relation to Austin and Malinowski.
Optional, available in photocopy.
J.L. AUSTIN, Enunciati performativi, in Id., Saggi Filosofici, Guerini e Associati, Milano 1990, pp. 221-36. Available in photocopy.
E. BENVENISTE, Problemi di linguistica generale I, Il Saggiatore, Milano 1971, pp. 301-347,
including the following essays: La natura dei pronomi, La soggettività del linguaggio, La filosofia analitica e il linguaggio. Available in photocopy.
E. BENVENISTE, Problemi di linguistica generale II, Il Saggiatore, Milano 1987, lincluding the following essays: Il linguaggio e l’esperienza umana, pp. 83-95; L’apparato formale dell’enunciazione, pp. 96-106. Available in photocopy.
B. MALINOWSKI, Il problema del significato dei linguaggi primitivi, in C.L. Ogden, I.A. Richards, Il significato del significato, Garzanti, Milano 1975, pp. 353-357. Available in photocopy.
H. ARENDT, Vita Activa, Bompiani, chapters 1, 2, 5. To buy.
Students who have to take a 4-credit exam do not have to answer for chapters. VII and VIII of the manual of Graffi and Scalise, nor of the chap. 1 and 2 of Vita activa by Arendt.


Linguaggio e natura umana, Bollati Boringhieri, only chap. 6° (“Storia naturale”). Photocopy avaible.

The aim of the course is to offer some fundamental tools to understand the lexicon and some core issues related to the development of the concepts of experience, action and language within the pragmatist rethinking of modern empiricism.
In module A, the analysis of the lexicon and some conceptual issues of D. Hume’ s empiricism will be compared to seminal texts of classical pragmatist philosophers.

Module A:
D. Hume, Ricerca sull’intelletto umano, Laterza 2009.
Ch. S. Peirce, “Il fissarsi della credenza” e “Come rendere chiare le nostre idee”, in Ch. S. Pierce, Scritti scelti, UTET 2008: pp. 185-228 (photocopy).
W. James, Pragmatismo, Aragno 2007: pp. 7-77 e 97-161.

Recommended texts:
R. M. Calcaterra, G. Maddalena, G. Marchetti (ed.), Il Pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci 2017: pp.13-219.
G. Maddalena, Peirce, La Scuola 2015.
S. Marchetti, James, La Scuola 2017.
A. Santucci, Introduzione a Hume, Laterza 2005.

The course is divided into 8 parts, listed below.
1. Elements of Media Economics;
2. Elements of Audiovisual Economics;
3. Market scenario ;
4. Technological scenario;
5. Work Flow and Value Chain;
6. Business plan and start-up of a new audiovisual business;
7. National and international players;
8. Best practices by some business operators (cinema, tv series, documentaries, advertising, corporate, web).

FOR ATTENDING AND NON ATTENDING STUDENTS

download the book :
ECONOMIA, MANAGEMENT E FINANZA DELL'IMPRESA CINEMATOGRAFICA ED AUDIOVISIVA - Giandomenico Celata, Rossella Gaudio - 2018.
(ECONOMY, MANAGEMENT AND fINANCE OF THE MOVIE AND AUDIOVISUAL COMPANIES)
from concept to set to big data; from the movie theater to the OTT; from the public to the publics).

from the platform:
https://stores.streetlib.com/it/giandomenico-celata-e-rossella-gaudio/economiamanagement-e-finanza-dellimpresa-cinematografica-ed-audiovisiva/

This course offers students an in-depth look at the theoretical and methodological aspects of Cultural History. In particular, the class will be focused on the cultural and social factors of the transition to the contemporary age.

- P. Burke, La storia culturale, Bologna, il Mulino, 2009, pp. 232, € 13,00

A book to be chosen among:
- B. Anderson, Comunità immaginate. Origini e fortuna dei nazionalimi, Roma, Manifestolibri, 2009 (pp. 238, € 20,00)
- E.W. Said, Orientalismo. L’immagine europea dell’Oriente, Milano, Feltrinelli, 2016 (pp. 395, € 23,00)
- S. Kern, Il tempo e lo spazio. La percezione del mondo tra Otto e Novecento, Bologna, il Mulino, 2007, pp. 448, € 23,00

The introductory section of the course examines, both from a historical and theoretical point of view, the transition of cinema and audiovisual from analogue to digital regime. Once these coordinates have been clarified, the focus shifts to the case of Pixar Animation Studios. Born from a rib of George Lucas' Lucasfilm, acquired by Steve Jobs in 1986 and owned in 2006 by Walt Disney, this company is today a great example of a creative industry capable of imposing a quality brand on a global level which is the key to a precise vision of the world, as well as a solid and full-bodied imagery that is both child and adult. We will explain how films such as Toy Story, Finding Nemo, The Incredibles, Cars or Inside Out are the result of an industrial, narrative, aesthetic and ideological system that has revitalized animated cinema, proposing, between technophilia and nostalgia, a articulated reflection on the contemporary "American way of life".

C. Uva, Il sistema Pixar, Il Mulino, Bologna, 2017.
C. Uva, P. Wells (Eds.), Re-Animation. Contemporary Animation between Cinema, TV, Video Art, and New Media, «Imago. Studi di cinema e media», n. 16, 2017.

Knowledge is required of the entire Pixar filmography.

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical works

PROGRAMME: the course is composed of 11 sections:
1. National and European legal framework of financial support to the audiovisual sector;
2. Selective financial support;
3. Tax credit measures;
4. Automatic financial support and support to film theatres
5. Financial support to film promotion activities;
6. The role of broadcasters;
7. The role of Regions and Film Commissions;
8. Co-productions: Eurimages;
9. Creative Europe – Co-development Funds;
10. Europe: a comparative analysis;
11. Draft of the bill on “Cinema, Audiovisual Sector and Performing Arts regulation, government mandate on the matter”.

The subject is rather new, therefore there is no text book. The professor will provide the studying papers and reports for the students in class.

The topic of the course concerns the development of musical criticism, seen in its historical and methodological dimension, from the late eighteenth century up to current times. The theme will be introduced by a series of lessons dedicated to the concept of musical communication.

Selected essays provided by the teacher, available in copy shops in via Giulio Rocco

Contemporary French Literature
6cfu
II semester
Jean Cayrol and Jean Genet, two authors compared. Starting from the definition of the sacred by Georges Bataille, this course analyses the different forms that this notion acquires in the theatrical works of the two authors, who have been both deeply changed by the experience of prison: Cayrol, who was deported in a concentration camp, is the father of the ‘Lazarian’ literature and theatre. Jean Genet, who was sentenced to jail for theft, has been the interpreter of the misfit and of the outsider, with a privileged attention paid to sexual transgressions.

SYLLABUS

1. HISTORY OF LITERATURE:
1. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters III to IX).

2. PRIMARY WORKS:
Jean Cayrol, Lazzaro fra di noi, edited by Marina Galletti, Trieste. Nonostante, 2016
Jean Genet; Sorveglianza speciale; I paraventi. Introduction by Gian Renzo Marteo ; translation by Giorgio Caproni,Torino : Einaudi, 1987.
Jean Genet, Le serve. Introduction by Jean-Paul Sartre; Translation by Giorgio Caproni Torino, Einaudi, 1982.
Albet Camus, Stato d’assedio, Milano, Bompiani, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4.CRITICISM
- AA.VV., Jean Cayrol, dalla notte e dalla nebbia. La scritura dell’esperienza concentrazionaria a cura di Marina Galleti, Torino, Kaplan, 2010
- AA.VV., Jean Genet La scrittura della rivolta edited by Marina Galletti e Ilaria Rigano, Editoria e teatro, 2016.
Students who do not attend lessons regularly also need to study:
- L’immoralità leggendaria. Il teatro di Jean Genet, a cura di Sergio Colomba e Albert Dichy, Ubulibri, 1990.
- Georges Bataille, La nozione di dispendio a cura di Elena Pulcini, Armando.
- Marina Galletti, Alle origini del teatro lazzariano: “L’état de siège” di Albert Camus e “Le diable qui n’est à persone” di Cayrol, in Un’idea di Francia. Scritti per Gianfranco Rubino, a cura di Anna Maria Scaiola, Vecchiarelli, Manziana (Roma), 2013, pp. 109-118.
- Margareth, Amatulli, La nebbia della storia, Jean Cayrol e la scrittura del ritorno, in Lazzaro risorto, Trieste, Parnaso, 2000.

5. FILMOGRAPHY:
- Alain Resnais, Muriel ou le temps d’un retour (1963). Script by Jean Cayrol (tr. it. Muriel il tempo del ritorno, Ripley’s Home video (dvd), 2005.
-Alain Resnais, Nuit et brouillard. Script by Jean Cayrol (tr. it.: Notte e nebbia, Ripley’s Home video (dvd), 2007.

NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

SYLLABUS

1. HISTORY OF LITERATURE:
1. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters III to IX).

2. PRIMARY WORKS:
Jean Cayrol, Lazzaro fra di noi, edited by Marina Galletti, Trieste. Nonostante, 2016
Jean Genet; Sorveglianza speciale; I paraventi. Introduction by Gian Renzo Marteo ; translation by Giorgio Caproni,Torino : Einaudi, 1987.
Jean Genet, Le serve. Introduction by Jean-Paul Sartre; Translation by Giorgio Caproni Torino, Einaudi, 1982.
Albet Camus, Stato d’assedio, Milano, Bompiani, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4.CRITICISM
- AA.VV., Jean Cayrol, dalla notte e dalla nebbia. La scritura dell’esperienza concentrazionaria a cura di Marina Galleti, Torino, Kaplan, 2010
- AA.VV., Jean Genet La scrittura della rivolta edited by Marina Galletti e Ilaria Rigano, Editoria e teatro, 2016.
Students who do not attend lessons regularly also need to study:
- L’immoralità leggendaria. Il teatro di Jean Genet, a cura di Sergio Colomba e Albert Dichy, Ubulibri, 1990.
- Georges Bataille, La nozione di dispendio a cura di Elena Pulcini, Armando.
- Marina Galletti, Alle origini del teatro lazzariano: “L’état de siège” di Albert Camus e “Le diable qui n’est à persone” di Cayrol, in Un’idea di Francia. Scritti per Gianfranco Rubino, a cura di Anna Maria Scaiola, Vecchiarelli, Manziana (Roma), 2013, pp. 109-118.
- Margareth, Amatulli, La nebbia della storia, Jean Cayrol e la scrittura del ritorno, in Lazzaro risorto, Trieste, Parnaso, 2000.

5. FILMOGRAPHY:
- Alain Resnais, Muriel ou le temps d’un retour (1963). Script by Jean Cayrol (tr. it. Muriel il tempo del ritorno, Ripley’s Home video (dvd), 2005.
-Alain Resnais, Nuit et brouillard. Script by Jean Cayrol (tr. it.: Notte e nebbia, Ripley’s Home video (dvd), 2007.

NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

Basic sound physics concepts and definition of musical sound sources. Basic concepts of musical theory (rhythm, melody, harmony). Basic concepts on the operation of the main instruments used for recording and playback (microphones, amplifiers, mixers and equalizers, loudspeakers). Sampling of sound. Introduction to Audio Files and MIDI. The physical and logical sequencers. Practical examples of professional music software management in the various phases of writing music tracks, equalization, reverberation, compression, harmonic excitement, stereophonic image creation, limiter and dithering use.

- Laboratorio di Tecnologie Musicali vol. 1 e 2 - D'AGOSTINO M. DE SIENA L. PAOLOZZI G. CAPPELLANI G, De Siena L, Paolozzi G
- handouts by the teacher

The class aims at making an audiovisual product and will be split into three parts, each devoted to the three filmmaking production steps:

1. literary step (from the idea to the script); 2. production step (pre-preduction and shooting); 3. post-production step (video and sound editing).

Each of the three parts will consist of a brief theoretical introduction and of a lab workshop.

None. It is essentially a practical workshop.

The class aims at making an audiovisual product and will be split into three parts, each devoted to the three filmmaking production steps:

1. literary step (from the idea to the script); 2. production step (pre-preduction and shooting); 3. post-production step (video and sound editing).

Each of the three parts will consist of a brief theoretical introduction and of a lab workshop.

None. It is essentially a practical workshop.

The first part of the laboratory is a historical excursus on the phases of “neotelevisione” (Eco’s definition for the kind of mainstream television that developed in Italy after 1975) and identifies the essential characteristics of the most important television genres - varieties, talk shows, reality shows, investigations. Then the laboratory includes a series of meetings with professionals from the world of television - authors, directors, operators, editors, casting authors – in order to understand what skills and professionalism are important for working in convergence tv.

There are no mandatory texts.
A recommended text is Stefano Balassone, Come Cavarsela in Tv, Lezioni di linguaggio audiovisivo. Roma, Meltemi, 2001