From Cartesian grammar to the pragmatics of language

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

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

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

1) I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001

2) A. Breton, Nadja, Torino, Einaudi, 2007

3) V. Magrelli, Profilo del dada, Roma, Laterza 2006 o 2019 (only second half)

The course introduces students to the historical developments and key figures in the visual arts of modernism - from roughly 1850 to 1940 - focusing on such issues as their relationship to technology and new media (photography, cinema), political and social contexts, urban and natural environments, and psychic life. These artistic experiences not only helped to transform the nature of aesthetic experience, opening up new forms of sensibility, but also radically redefined the understanding of individual and collective reality.

The analysis of the different trends and poetics will also provide the basic methodology for the study of the media and languages that characterize art between the mid-nineteenth and early twentieth centuries, providing the critical tools essential for reading different types of works.

Reference books:

19th Century (1850-1900): Federica Rovati, L'arte dell'Ottocento, Einaudi 2017
20th Century (1900-1940): Federica Rovati, L’arte del primo Novecento, Einaudi 2015. Alternative choice: Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson
Essays:
Stephen Kern, Il tempo e lo spazio, Il Mulino 2007: capitoli 4: Il futuro; 5: La velocità; 6: La natura dello spazio, pp. 117-226
Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108
Walter Benjamin, Piccola storia della fotografia, Einaudi
Check the Teams channel for these PDFs

The course analyzes the relationship between art and the environment, starting from the avant-gardes to the second half of the twentieth century in which artistic intervention explodes in installations, often realized in situ or site-specific, in the exhibition space, in nature or in public space. From the relationship between art and the environment, the course will also focus on the exhibition as an installation and immersive space and on the forms of the contemporary art museum, in the dynamics of spectatorship and multimedia and multisensory dimension.
The following topics will be analysed:
- Beyond painting and sculpture. The relationship between art and space in Futurism, Constructivism and Dada;
- Marcel Duchamp's exhibitions and curatorial practice;
- Environment and Happening;
- From Arte Povera to Land Art;
- A new ideology of the exhibition space: exhibitions and galleries between the Sixties and Seventies;
- Site specific and time specific: environmental installations as immersive spaces;
- Forms of the contemporary art museum: from the postmodern turn to the contemporary.

Testi adottati e bibliografia di riferimento

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

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

3). Raccolta online delle immagini proiettate a lezione (disponibile a fine del corso)
/ Online gathering of images projected during lectures (available at the end of the course).


Non-attending students add:

4) G. Celant, Ambiente/Arte. Dal Futurismo alla Body Art. Biennale Arte 1976 (1977), La Biennale di Venezia, Venezia 2020

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

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

Bibliography

1) Suggested manual:

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

Texts of your choice (at least one, to be added to the manual):


1. M. Baxandall, Pittura ed esperienze sociali nell’Italia del Quattrocento, Torino, Einaudi 1978.

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

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

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

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

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

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

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

1) Suggested manual:

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

e S. Settis – T. Montanari, Arte. Una storia naturale e civile. Dal Barocco all’Impressionismo (vol. 4), Mondadori Editore (solo fino al Settecento, capitolo 14 incluso)
https://www.libreriauniversitaria.it/arte-storia-naturale-civile-licei/libro/9788828616467


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

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

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

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

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

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

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

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

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

Ask the Professor for English lectures.

Laboratorio di Arti Digitali: Programma

Obiettivo del Corso: Il corso mira a guidare gli studenti nella creazione del lavoro "Scenari Futuri", un video che esplora il rapporto tra corpo e spazio urbano utilizzando tecniche di grafica digitale in movimento. Gli studenti acquisiranno competenze avanzate nell'utilizzo di Adobe After Effects e altri strumenti correlati per realizzare il progetto.

Struttura del Corso:

Modulo 1: Introduzione ai concetti di base

Presentazione del corso e degli obiettivi.
Panoramica sul lavoro "Scenari Futuri" e sul rapporto corpo-spazio urbano.
Introduzione alle tecniche di animazione e motion graphics.
Conoscenza delle basi di Adobe After Effects.

Modulo 2: Ricerca e ispirazione

Ricerca visuale: raccolta di immagini e fotografie che ispirino il progetto.
Discussione sulle strade da percorrere e le idee creative.
Creazione di un moodboard visivo.

Modulo 3: Progettazione e storyboard

Progettazione di una sequenza di immagini chiave.
Creazione di un storyboard per i layout del video.
Presentazione dei layout in un documento PDF.

Modulo 4: Animazione in Adobe After Effects

Importazione e organizzazione dei documenti in After Effects.
Trasformazione dei singoli livelli: punto di ancoraggio, posizione, scala, rotazione, opacità.
Animazione dei livelli mediante la trasformazione ed interpolazione dei fotogrammi chiave.
Utilizzo delle curve Bézier nel Graph Editor per animazioni complesse.
Progettazione grafica con shape layers.
Introduzione al "Puppet tools" e effetto marionetta.
Utilizzo di maschere vettoriali e livelli di regolazione.
Nidificazione di progetti e precomposizione.
Concetti base di camera e livelli 3D.
Coda di rendering in After Effects.

Modulo 5: Introduzione a Blender

Breve introduzione a Blender per l'animazione 3D.

Modulo 6: Video Compositing

Sovrapposizione e metodi di fusione dei livelli video in After Effects.
Lavorare con il chiave colore e il green screen.
Uso di Alpha e luma matte.
Modulo effetti avanzati: Lumetri color, KeyLight.
Tracking 3D e stabilizzazione camera.
Introduzione al modulo di plug-in Mocha Shape.
Modulo di rendering esterno Adobe Media Encoder.

Modulo 7: Revisione e Presentazione Finale

Revisione dei lavori degli studenti.
Perfezionamento e rifinitura dei progetti.
Presentazione finale dei lavori "Scenari Futuri".

Valutazione:
Gli studenti verranno valutati sulla base della loro partecipazione attiva alle lezioni, del progresso nei progetti e della presentazione finale di "Scenari Futuri".

Questo programma si propone di offrire delle conoscenze tecniche di motion graphics e progettazione, con un focus particolare su Adobe After Effects e strumenti correlati. Gli studenti avranno l'opportunità di sviluppare le proprie competenze creative e tecniche mentre lavorano al progetto finale.






—-------------------------------------------------------



Digital Arts Laboratory: Program

Course Objective: The course aims to guide students in the creation of the work "Scenari Futuri", a video that explores the relationship between the body and urban space using digital motion graphics techniques. Students will gain advanced skills in using Adobe After Effects and other related tools to realize the project.

Course Structure:

Module 1: Introduction to basic concepts

Presentation of the course and objectives.
Overview of the work "Scenari Futuri" and the relationship between body and urban space.
Introduction to animation and motion graphics techniques.
Knowledge of the basics of Adobe After Effects.

Module 2: Research and inspiration

Visual research: collection of images and photographs that inspire the project.
Discussion on the ways forward and creative ideas.
Creating a visual mood board.

Module 3: Design and storyboard

Designing a key image sequence.
Creating a storyboard for video layouts.
Presentation of layouts in a PDF document.

Module 4: Animation in Adobe After Effects

Importing and organizing documents in After Effects.
Transformation of individual layers: anchor point, position, scale, rotation, opacity.
Layer animation using keyframe transformation and interpolation.
Using Bézier curves in the Graph Editor for complex animations.
Graphic design with shape layers.
Introduction to "Puppet tools" and marionette effect.
Using vector masks and adjustment layers.
Project nesting and precomposition.
Basic concepts of room and 3D levels.
Render queue in After Effects.

Module 5: Introduction to Blender

Brief introduction to Blender for 3D animation.

Module 6: Video Compositing

Overlaying and blending modes of video layers in After Effects.
Working with color key and green screen.
Using Alpha and luma matte.
Advanced effects module: Lumetri color, KeyLight.
3D tracking and camera stabilization.
Introduction to the Mocha Shape plugin module.
External renderer Adobe Media Encoder.

Module 7: Review and Final Presentation

Review of student work.
Perfecting and finishing projects.
Final presentation of the "Future Scenarios" works.

Assessment:
Students will be evaluated on the basis of their active participation in lessons, progress in projects and the final presentation of "Future Scenarios".

This program aims to offer technical knowledge of motion graphics and design, with a particular focus on Adobe After Effects and related tools. Students will have the opportunity to develop their creative and technical skills as they work on their final project.

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

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

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

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

There is not a course book.

Identify the subject of the story and the
subtext. Choice of the point of view adopted to
tell the story and practical exercises starting from
the loglines presented by the students.

How to proceed in writing a screenplay-
treatment for documentary cinema and exercises
with viewing excerpts from a selection of
documentary films.
The different methodologies to adopt to make a
documentary film compared to subjects and
history: the most analytical approach of study
and in-depth knowledge of the character before
the start of the shooting, and the most direct
approach to discovering the character and the
story together with the camera. Exercises
starting from the stories identified by the
participants.

On the basis of the adopted point of view and
of the language used, choice of technical


shooting equipment, sound and crew necessary
for the realization of the documentary film.

Shooting techniques: formats, lenses, and
accessories. Practical exercises are foreseen
starting from the loglines sent by the students.

Shooting: hand camera, tripod and
steadycam. How, why and when to use them.
Practical exercises are planned.

Scenes: how to set up the shooting and why.
Cuts and shots.

Cinematographic sequences, how to
approach them and which grammar to use.
Expressive choices and aesthetic choices.

Sound, between shooting, editing and audio
mix.
Starting from the subjects proposed by the
students, collective workshop on the authors'
narrative, stylistic and technical project and
analysis of the shots taken.



Assembly: what it is and how to deal with it.
From the choice and the lineup of materials, to
the actual rewriting and research of dramaturgy
through images.

Post-production, music, titles and effects. The
invisible importance of careful finalization.

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

1) I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001

2) A. Breton, Nadja, Torino, Einaudi, 2007

3) V. Magrelli, Profilo del dada, Roma, Laterza 2006 o 2019 (only second half)

Travelling, seeing, XXth Century and Beyond

a-b) two among next texts (or combinations of texts):

Carlo Emilio Gadda, Verso la Certosa, Milano, Adelphi, 2013 + I viaggi la morte, Milano, Adelphi, 2023; or

Guido Piovene, Viaggio in Italia, Milano, Bompiani, 2017; or

Pier Paolo Pasolini, La lunga strada di sabbia, Roma, Contrasto, 2014 + Id., L’odore dell’India, Milano, Garzanti, 2015; oppure

Giorgio Manganelli, Esperimento con l’India, Milano, Adelphi, 1992 + Id., La favola pitagorica, Milano, Adelphi, 2005 + Id., L’isola pianeta, Milano, Adelphi, 2006; oppure

Goffredo Parise, Guerre politiche, Milano, Adelphi, 2007 + Id., L’eleganza è frigida, Milano, Adelphi, 2008 + Id., Lontano, Milano, Adelphi, 2015; oppure

Alberto Arbasino, America amore, Milano, Adelphi, 2011; oppure

Gianni Celati, Narratori delle pianure, Milano, Feltrinelli, 2018 + Id., Verso la foce, Milano, Feltrinelli, 2018 + Id., Avventure in Africa, Milano, Feltrinelli, 2011; oppure

Vitaliano Trevisan, Tristissimi giardini, Bari-Roma, Laterza, 2010 [or Id., Black Tulips, Torino, Einaudi Stile Libero 2022] + Antonella Anedda, Geografie, Milano, Garzanti, 2020 + Con gli occhi aperti, a cura di Andrea Cortellessa, Roma, Exòrma, 2016

c) Luigi Marfè, Oltre la «fine dei viaggi». I resoconti dell’altrove nella letteratura contemporanea, Firenze, Olschki 2009

d) to give a context in 20th and 21st century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, quarto volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

Light and the stage
The workshop aims to introduce the students to new concepts and techniques of light in contemporary theatre, referring to the role it plays not only on the level of vision, but also on those of meaning, dramaturgy, action and structuring of space and time.

Optional text:
Fabrizio Crisafulli, Active Light. Issues of Light in Contemporary Theatre, Dublin: Artdigiland 2013

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

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

The main lines of the contemporary age from the mid-1800s to the early 1990s.
The module aims to tackle, with a reading of the long run, the most important issues of contemporary history from the mid-1800s to the beginning of the 1990s.
Attention will be devoted to the different political systems with a focus on the early twentieth century in Italy.

A university textbook. It's raccomended:

F. Cammarano, G. Guazzaloca, M.S. Piretti, Storia contemporanea. Dal XIX al XXI secolo, Mondadori-Le Monnier, 2015, € 30,50, 466 pp.

Monograph:

E. Gentile, Le origini dell’età contemporanea. L’età giolittiana, Roma-Bari, Laterza, 2003, € 20,00, 300 pp.

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

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

The workshop is organised as a mixed pedagogical setting that alternates stage practice with historical reflection, aiming to provide some tools that lead to achieving the wholeness of actorial presence, made up of body and voice. Particular attention will be given to listening and group collaboration, which form the basis of every theatrical creation.
But what do actresses and actors do to prepare for their work? If we ask the same question when thinking of those who dance, we imagine hours of physical exercises, or those who play music, scales and arpeggios immediately come to mind. In the common imagination, on the other hand, it is not very clear how actors and actresses prepare themselves, since only apparently do actors and actresses act on stage as they do in everyday life, and consequently they would not seem to need to train. The workshop will attempt to dispel this cliché by focusing on the training necessary for the acting task, traversing and exploring territories linked to practices and principles that transversally belong to different disciplines, and to different methods and traditions, performative and not.
The working days are imagined to be made up of various moments that will follow one another while blending together: a first part of bodily and vocal training aimed at generating the individual and group presence necessary for theatrical work; a second moment of scenic composition and creation starting from the themes and textual suggestions; a third part of work on the text in which all the preparatory work will come together. For each phase of this process, the working instrument will be our body, made up of joints, muscles and breath. The composition will therefore be a sum of bodies and voices, harmonic and/or dissonant, which will act as a choral basis for the emergence of individualities.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
Each day will propose a different path to the words of the text, mixing techniques and methods of composition, with the intention of testing different approaches to the word and the scenic creation.

Italian translation of the play by William Shakespeare, Macbeth in the version and edited by Alessandro Serpieri and published by Giunti in 2004 (ISBN: 9788809033597) no longer in print but available in Italian libraries by consulting the OPAC SBN site (https://opac.sbn.it/). Alternatively, participants can read the later edition, also by Giunti, which can be purchased but without the introductory apparatus and notes (ISBN 9788809831391).

Computer training for creating music and processing sound; exercises on the foundations of music theory

Selection of essays provided by the teacher during the course

Title: Music and Emotions
Throughout the course, the following issues will be examined:
How can we justify attribution of emotional qualities to music? What do we mean when we say, for example, that music is sad, joyful, melancholic?
How can music can arouse emotions (e.g. emotion, sadness, euphoria) in the listener?
How can we explain our emotional response to music?
Finally, what kind of emotions are those generated by music listening?

Hanslick, E., On the Beautiful in Music (any English edition) (chapters 1-3).
Langer, S., Philosophy in a New Key (any edition) (ch. 8: On significance in music).
Lentini, D., La musica e le emozioni. Percorsi nell’estetica analitica, Mimesis, Milano, 2014 (first part).
Kivy, P., An Introduction to the Philosophy of Music, Clarendon Press 2022 (chapters. 1-7).

Further readings:
Bertinetto, A., Il pensiero dei suoni. Temi di filosofia della musica, Bruno Mondadori, Milano, 2012 (cap. 3: Una scienza emozionale, pp. 99-154)

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

Material provided by the lecturer.

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

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

Travelling, seeing, XXth Century and Beyond

a-b) two among next texts (or combinations of texts):

Carlo Emilio Gadda, Verso la Certosa, Milano, Adelphi, 2013 + I viaggi la morte, Milano, Adelphi, 2023; or

Guido Piovene, Viaggio in Italia, Milano, Bompiani, 2017; or

Pier Paolo Pasolini, La lunga strada di sabbia, Roma, Contrasto, 2014 + Id., L’odore dell’India, Milano, Garzanti, 2015; oppure

Giorgio Manganelli, Esperimento con l’India, Milano, Adelphi, 1992 + Id., La favola pitagorica, Milano, Adelphi, 2005 + Id., L’isola pianeta, Milano, Adelphi, 2006; oppure

Goffredo Parise, Guerre politiche, Milano, Adelphi, 2007 + Id., L’eleganza è frigida, Milano, Adelphi, 2008 + Id., Lontano, Milano, Adelphi, 2015; oppure

Alberto Arbasino, America amore, Milano, Adelphi, 2011; oppure

Gianni Celati, Narratori delle pianure, Milano, Feltrinelli, 2018 + Id., Verso la foce, Milano, Feltrinelli, 2018 + Id., Avventure in Africa, Milano, Feltrinelli, 2011; oppure

Vitaliano Trevisan, Tristissimi giardini, Bari-Roma, Laterza, 2010 [or Id., Black Tulips, Torino, Einaudi Stile Libero 2022] + Antonella Anedda, Geografie, Milano, Garzanti, 2020 + Con gli occhi aperti, a cura di Andrea Cortellessa, Roma, Exòrma, 2016

c) Luigi Marfè, Oltre la «fine dei viaggi». I resoconti dell’altrove nella letteratura contemporanea, Firenze, Olschki 2009

d) to give a context in 20th and 21st century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, quarto volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

The course focuses on two of the most important periods in the history of Italian cinema: postwar cinema and the 60s. The first part is devoted to the most representatives theories, films, authors, figures, and styles of neorealism. The second part analyzes the auteur cinema of old and new generations (Antonioni, Fellini, Pietrangeli, Ferreri, Olmi, Pasolini, Bertolucci, Bellocchio).

TEXTS: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (in particular chapters III and IV); Stefania Parigi, Immagini del neorealismo, Marsilio, Venezia 2014; Emiliano Morreale, I film della dolce vita. Cinema d'autore degli anni Sessanta, Dino Audino, Roma 2021; a compilation of texts on neorealism by the teacher (you can find it in the Moodle Platform). Non-attending students must also read Stefania Parigi, Pier Paolo Pasolini. Accattone, Lindau, Torino 2021.
FILMOGRAPHY: Ossessione (1943) by L. Visconti; Roma città aperta (1945) di R. Rossellini; Paisà (1946) by R. Rossellini; Germania anno zero (1948) by R. Rossellini; Ladri di biciclette (1948) by V. De Sica; La terra trema (1948) by L. Visconti; Riso amaro (1949) by G. De Santis; Miracolo a Milano (1950) by V. De Sica; Il cammino della speranza (1950) by P. Germi; 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; L’avventura (1960) by M. Antonioni; La dolce vita (1960) by F. Fellini; Accattone (1961) by P. P. Pasolini; I fidanzati (1963) by E. Olmi; Prima della rivoluzione (1964) by B. Bertolucci; La donna scimmia (1964) by M. Ferreri, I pugni in tasca (1965) by M. Bellocchio; Io la conoscevo bene by A. Pietrangeli; Blow-up (1967) by M. Antonioni; Dillinger è morto (1969) by M. Ferreri.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course examines the period from the post-war to the present, focusing in the first part on the main stages that have marked the history of Italian cinema in terms of films, authors and genres. In the second part, we will focus instead on a particular topos, that of the beach, which has always been central to the national imagination and of course also in our cinematographic tradition. We will therefore examine the aesthetic, narrative, productive and cultural peculiarities of some cinematographic works in which the "bathing condition" has become a privileged occasion to investigate the main historical, social and anthropological changes experienced by our country in more than half a century.

TEXTS:

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

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

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

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

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

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


FILMOGRAPHY

Ladri di biciclette (1948) di V. De Sica; Domenica d’agosto (1950) di L. Emmer; La spiaggia (1954) di A. Lattuada; La dolce vita (1960) di F. Fellini; L’avventura (1960) di M. Antonioni; Accattone (1961) di P. P. Pasolini; Il sorpasso (1962) di D. Risi; Prima della rivoluzione (1964) di B. Bertolucci; Per un pugno di dollari (1964) di S. Leone; L’ombrellone (1965) di D. Risi; Indagine su un cittadino al di sopra di ogni sospetto (1970) di E. Petri; Ferie d’agosto (1996) di P. Virzì; L'imbalsamatore (2002) di M. Garrone.

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

During the course of the lectures, videos and archival materials will be screened and, where possible, made available to students. Full videography will be provided during the course.

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

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

1) Francesco Casetti, Eye of the Century: Film, Experience, Modernity, Columbia University Press, New York 2008 (or. Francesco Casetti, L'occhio del Novecento. Cinema, esperienza, modernità, Bompiani, Milano 2005 and later editions);
2) Enrico Carocci (a cura di), Stanley Kubrick, Marsilio, Venezia 2019;
3) An anthology of essays, edited by the teacher (paper materials, available at the print shop Graffetta, Viale Leonardo da Vinci 168, Rome).

Title: Music and Emotions
Throughout the course, the following issues will be examined:
How can we justify attribution of emotional qualities to music? What do we mean when we say, for example, that music is sad, joyful, melancholic?
How can music can arouse emotions (e.g. emotion, sadness, euphoria) in the listener?
How can we explain our emotional response to music?
Finally, what kind of emotions are those generated by music listening?

Hanslick, E., On the Beautiful in Music (any English edition) (chapters 1-3).
Langer, S., Philosophy in a New Key (any edition) (ch. 8: On significance in music).
Lentini, D., La musica e le emozioni. Percorsi nell’estetica analitica, Mimesis, Milano, 2014 (first part).
Kivy, P., An Introduction to the Philosophy of Music, Clarendon Press 2022 (chapters. 1-7).

Further readings:
Bertinetto, A., Il pensiero dei suoni. Temi di filosofia della musica, Bruno Mondadori, Milano, 2012 (cap. 3: Una scienza emozionale, pp. 99-154)

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

Material provided by the lecturer.

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

None. It is essentially a practical workshop.

The schedule of the filmaking lab is organized in three different parts:
a) theory on film writing and the language of cinema and visual choices (the idea, the story and the opening scenes of the final script);
b) film directing - visual culture, shots and close up, film grammar, soundtrack on dialogues, sound and music;
c) filming a shortmetrage, a trailer or a teaser of the opening scene of the film (it has to be made with digital devices - smartphone, digital camera or camcorder).
The morals, the basic of the Filmmaking 4 lab is the creative freedom of the filmmaker (director, screenplayer).

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

Computer training for creating music and processing sound; exercises on the foundations of music theory

Selection of essays provided by the teacher during the course

This course deals with current trends and issues on environment, sustainable development, cultural practices in public spaces and performing arts. With special focus on projects and works in progress in Rome.

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

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

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

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

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

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

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

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

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

Main reference text:

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

A book to be chosen from:

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

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

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

The course examines the history of photography from its origins to today, considering photography as both a medium of artistic expression and as a social practice. We will analyze the Nineteenth-century origins of the medium, its ever more pervasive dissemination in all the spheres of everyday life, and the main technological metamorphoses that have shaped its development, up to the digital transition and the current employment in the online context. Discussing some of the most important artists of the medium (from Talbot to Nadar, from Alfred Stieglitz to Henri Cartier-Bresson, from Saul Leiter to Letizia Battaglia) and some of its foremost scholars (Walter Benjamin, Roland Barthes, Susan Sontag, Allan Sekula and others), we will reflect on the elements that grant photography its expressive force, and on the kind of involvement these images may elicit in us as viewers.
More specifically, we will investigate the concept of “street photography” as a specific kind of photographic practice that intersects a wide array of different photographic genres (documentary photography, architectural photography, fashion photography, and so on). Precisely because of its hybrid nature, street photography can be profitably examined to reflect on the complex nexus between photography and modernity. Finally, the study of the influence exerted by Berenice Abbott’s photographic opus upon the cinematic rendition of New York in Sergio Leone’s film “Once Upon a Time in America” will allow us to reflect on the relationship between still and moving images.

The syllabus with the final course program will be made available around the start of the course itself.

Lorenzo Marmo, "Street Photography. La modernità, New York, il cinema" (Mimesis, 2023).
Collection of essays selected by the professor.

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

ATTENDING STUDENTS
(to be considered attending students, the student cannot make more than 2 absences):

CHOOSE BETWEEN THE TWO PROGRAMS BELOW

A) Program with a core theme of your choice

1) Alfonso Cipolla, Giovanni Moretti, “Storia dei burattini e delle marionette in Italia”, Corazzano, Titivillus, 2011

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

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

4) materiali da CONCORDARE CON LA DOCENTE nel corso delle lezioni (sarà possibile diversificare i temi di studio scegliendo tra gli argomenti affrontati a lezione). Scegliere uno dei nuclei tematici caricati nella sezione “file” del TEAM – cartella “Materiale del corso”

Or

B) “Programma PULCINELLA”
1) Alfonso Cipolla, Giovanni Moretti, “Storia dei burattini e delle marionette in Italia”, Corazzano, Titivillus, 2011

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

3) BRUNO LEONE, La voce di Pulcinella, in «Mòin Mòin», Revista de Estudos sobre Teatro de Formas Animadas, n. 19 (2018), pp. 44-60 [da studiare pp. 46-56] [file “Leone La voce di Pulcinella.pdf”, caricato sulla piattaforma TEAMS / sezione “File” ]

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

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

6) Anna Leone, Anime di legno, in Caterina Pasqualino (a c. di.), Macchine vive. Dalle marionette agli umanoidi, Palermo, Edizioni Museo Pasqualino, 2021, pp. 141-159 [file “Anna_LEONE - Anime di legno.pdf”, caricato sulla piattaforma TEAMS / sezione “File”]


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

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

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

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

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

6) Anna Leone, Anime di legno, in Caterina Pasqualino (a c. di.), Macchine vive. Dalle marionette agli umanoidi, Palermo, Edizioni Museo Pasqualino, 2021, pp. 141-159 [file “Anna_LEONE - Anime di legno.pdf”, caricato sulla piattaforma TEAMS / sezione “File”]

7) BRUNO LEONE, La voce di Pulcinella, in «Mòin Mòin», Revista de Estudos sobre Teatro de Formas Animadas, n. 19 (2018), pp. 44-60 [da studiare pp. 46-56] [file “Leone La voce di Pulcinella.pdf”, caricato sulla piattaforma TEAMS / sezione “File” ]

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

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

Light and the stage
The workshop aims to introduce the students to new concepts and techniques of light in contemporary theatre, referring to the role it plays not only on the level of vision, but also on those of meaning, dramaturgy, action and structuring of space and time.

Optional text:
Fabrizio Crisafulli, Active Light. Issues of Light in Contemporary Theatre, Dublin: Artdigiland 2013

The workshop is organised as a mixed pedagogical setting that alternates stage practice with historical reflection, aiming to provide some tools that lead to achieving the wholeness of actorial presence, made up of body and voice. Particular attention will be given to listening and group collaboration, which form the basis of every theatrical creation.
But what do actresses and actors do to prepare for their work? If we ask the same question when thinking of those who dance, we imagine hours of physical exercises, or those who play music, scales and arpeggios immediately come to mind. In the common imagination, on the other hand, it is not very clear how actors and actresses prepare themselves, since only apparently do actors and actresses act on stage as they do in everyday life, and consequently they would not seem to need to train. The workshop will attempt to dispel this cliché by focusing on the training necessary for the acting task, traversing and exploring territories linked to practices and principles that transversally belong to different disciplines, and to different methods and traditions, performative and not.
The working days are imagined to be made up of various moments that will follow one another while blending together: a first part of bodily and vocal training aimed at generating the individual and group presence necessary for theatrical work; a second moment of scenic composition and creation starting from the themes and textual suggestions; a third part of work on the text in which all the preparatory work will come together. For each phase of this process, the working instrument will be our body, made up of joints, muscles and breath. The composition will therefore be a sum of bodies and voices, harmonic and/or dissonant, which will act as a choral basis for the emergence of individualities.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
Each day will propose a different path to the words of the text, mixing techniques and methods of composition, with the intention of testing different approaches to the word and the scenic creation.

Italian translation of the play by William Shakespeare, Macbeth in the version and edited by Alessandro Serpieri and published by Giunti in 2004 (ISBN: 9788809033597) no longer in print but available in Italian libraries by consulting the OPAC SBN site (https://opac.sbn.it/). Alternatively, participants can read the later edition, also by Giunti, which can be purchased but without the introductory apparatus and notes (ISBN 9788809831391).

Computer training for creating music and processing sound; exercises on the foundations of music theory

Selection of essays provided by the teacher during the course

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

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

Laboratorio di Arti Digitali: Programma

Obiettivo del Corso: Il corso mira a guidare gli studenti nella creazione del lavoro "Scenari Futuri", un video che esplora il rapporto tra corpo e spazio urbano utilizzando tecniche di grafica digitale in movimento. Gli studenti acquisiranno competenze avanzate nell'utilizzo di Adobe After Effects e altri strumenti correlati per realizzare il progetto.

Struttura del Corso:

Modulo 1: Introduzione ai concetti di base

Presentazione del corso e degli obiettivi.
Panoramica sul lavoro "Scenari Futuri" e sul rapporto corpo-spazio urbano.
Introduzione alle tecniche di animazione e motion graphics.
Conoscenza delle basi di Adobe After Effects.

Modulo 2: Ricerca e ispirazione

Ricerca visuale: raccolta di immagini e fotografie che ispirino il progetto.
Discussione sulle strade da percorrere e le idee creative.
Creazione di un moodboard visivo.

Modulo 3: Progettazione e storyboard

Progettazione di una sequenza di immagini chiave.
Creazione di un storyboard per i layout del video.
Presentazione dei layout in un documento PDF.

Modulo 4: Animazione in Adobe After Effects

Importazione e organizzazione dei documenti in After Effects.
Trasformazione dei singoli livelli: punto di ancoraggio, posizione, scala, rotazione, opacità.
Animazione dei livelli mediante la trasformazione ed interpolazione dei fotogrammi chiave.
Utilizzo delle curve Bézier nel Graph Editor per animazioni complesse.
Progettazione grafica con shape layers.
Introduzione al "Puppet tools" e effetto marionetta.
Utilizzo di maschere vettoriali e livelli di regolazione.
Nidificazione di progetti e precomposizione.
Concetti base di camera e livelli 3D.
Coda di rendering in After Effects.

Modulo 5: Introduzione a Blender

Breve introduzione a Blender per l'animazione 3D.

Modulo 6: Video Compositing

Sovrapposizione e metodi di fusione dei livelli video in After Effects.
Lavorare con il chiave colore e il green screen.
Uso di Alpha e luma matte.
Modulo effetti avanzati: Lumetri color, KeyLight.
Tracking 3D e stabilizzazione camera.
Introduzione al modulo di plug-in Mocha Shape.
Modulo di rendering esterno Adobe Media Encoder.

Modulo 7: Revisione e Presentazione Finale

Revisione dei lavori degli studenti.
Perfezionamento e rifinitura dei progetti.
Presentazione finale dei lavori "Scenari Futuri".

Valutazione:
Gli studenti verranno valutati sulla base della loro partecipazione attiva alle lezioni, del progresso nei progetti e della presentazione finale di "Scenari Futuri".

Questo programma si propone di offrire delle conoscenze tecniche di motion graphics e progettazione, con un focus particolare su Adobe After Effects e strumenti correlati. Gli studenti avranno l'opportunità di sviluppare le proprie competenze creative e tecniche mentre lavorano al progetto finale.






—-------------------------------------------------------



Digital Arts Laboratory: Program

Course Objective: The course aims to guide students in the creation of the work "Scenari Futuri", a video that explores the relationship between the body and urban space using digital motion graphics techniques. Students will gain advanced skills in using Adobe After Effects and other related tools to realize the project.

Course Structure:

Module 1: Introduction to basic concepts

Presentation of the course and objectives.
Overview of the work "Scenari Futuri" and the relationship between body and urban space.
Introduction to animation and motion graphics techniques.
Knowledge of the basics of Adobe After Effects.

Module 2: Research and inspiration

Visual research: collection of images and photographs that inspire the project.
Discussion on the ways forward and creative ideas.
Creating a visual mood board.

Module 3: Design and storyboard

Designing a key image sequence.
Creating a storyboard for video layouts.
Presentation of layouts in a PDF document.

Module 4: Animation in Adobe After Effects

Importing and organizing documents in After Effects.
Transformation of individual layers: anchor point, position, scale, rotation, opacity.
Layer animation using keyframe transformation and interpolation.
Using Bézier curves in the Graph Editor for complex animations.
Graphic design with shape layers.
Introduction to "Puppet tools" and marionette effect.
Using vector masks and adjustment layers.
Project nesting and precomposition.
Basic concepts of room and 3D levels.
Render queue in After Effects.

Module 5: Introduction to Blender

Brief introduction to Blender for 3D animation.

Module 6: Video Compositing

Overlaying and blending modes of video layers in After Effects.
Working with color key and green screen.
Using Alpha and luma matte.
Advanced effects module: Lumetri color, KeyLight.
3D tracking and camera stabilization.
Introduction to the Mocha Shape plugin module.
External renderer Adobe Media Encoder.

Module 7: Review and Final Presentation

Review of student work.
Perfecting and finishing projects.
Final presentation of the "Future Scenarios" works.

Assessment:
Students will be evaluated on the basis of their active participation in lessons, progress in projects and the final presentation of "Future Scenarios".

This program aims to offer technical knowledge of motion graphics and design, with a particular focus on Adobe After Effects and related tools. Students will have the opportunity to develop their creative and technical skills as they work on their final project.

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

Titolo: Story – Contenuti, struttura, stile, principi per la sceneggiatura e per l’arte di scrivere storie
ISBN-10: 8896450039
ISBN-13: 9788896450031
Autore: Robert McKee
Collana: Scrittura creativa
Editore: Omero
Titolo: Manuale di sceneggiatura cinematografica
Sottotitolo: Teoria e pratica
ISBN-10: 8860081416
ISBN-13: 9788860081414
Autore: Luca Aimeri
Collana: Collana di cinema
Editore: UTET
Titolo: La sceneggiatura
Sottotitolo: Il film sulla carta
ISBN-10: 8885838634
ISBN-13: 9788885838635
Autore: Syd Field
Collana: Istruzioni per l’uso
Editore: Lupetti
Titolo: Save the cat! Manuale di sceneggiatura
ISBN-10: 8896450195
ISBN-13: 9788896450192
Autore: Blake Snyder
Collana: Scrittura creativa
Editore: Omero
Titolo: Scriviamo un film – Manuale di sceneggiatura
ISBN-10: 884282058X
ISBN-13: 9788842820581
Autore: Age
Collana: La piccola cultura
Editore: Il Saggiatore
Titolo: Come scrivere una grande sceneggiatura
ISBN-10: 8875271518
ISBN-13: 9788875271510
Autore: Linda Seger
Collana: Manuali di Script
Editore: Audino
Titolo: L’arco di trasformazione del personaggio
ISBN-10: 887527018X
ISBN-13: 9788875270186
Autore: Dara Marks
Editore: Audino
Un testo a scelta tra i seguenti per approfondire argomento
I tre usi del coltello. Saggi e lezioni sul cinema
di David Mamet (Autore), F. Abbinante (Traduttore)
Consigli a un giovane scrittore
di Vincenzo Cerami
La sceneggiatura. Un testo dall'esistenza incerta
di Daniela Ceselli ( Le Lettere)

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

The course aims to answer the following questions:
how do you find a story?
how do you tell a story?
the role of the narrator
the point of view
what makes a story universal?

Io ero il Milanese di Mauro pescio e Lorenzo S ed. Mondadori

(we also recommend listening to the homonymous podcast on raiplaysound)

Travel journals - Valerio Daniel De Simoni

Diaries - Valerio Daniel De Simoni

De Simoni's diaries will also be available in pdf

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

Calendar of activities:

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

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

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

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

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

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

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

Lesson 8
Making a photographic project
Introduction to digital editing

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

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

Lesson 11
Review and comment on students' photographic projects

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

There are no mandatory books

The program will take place through lectures and meetings with industry professionals. The course topics mainly concern the following thematic areas:
- European and international audiovisual market
- Elements of cinema and audiovisual economics
- The cinematographic and audiovisual supply chain: the various phases from development to post-production
- Public and private funding sources
- Financial business models in audiovisual production
- The distribution sector and marketing strategies
- The movie theaters

Economy, Management and Finance of the Cinematographic and Audiovisual Company
CELATA GIANDOMENICO
https://www.hoepli.it/autore/celata_giandomenico.html?autore=%5b%5bcelata+giandomenico%5d%5d&
Handouts and teaching materials will be uploaded to the Teams channel to accompany the exam text.

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

Giacomo Ravesi, Le maschere di Dioniso. Figure del corpo tra arti visive, media e tecnologia, Armando, Roma 2021.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of viale Leonardo Da Vinci, n. 168.

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

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

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

1) I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001

2) A. Breton, Nadja, Torino, Einaudi, 2007

3) V. Magrelli, Profilo del dada, Roma, Laterza 2006 o 2019 (only second half)

Theme of this year's course: Making home.

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

1. A textbook for the general part:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori, 2015.
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi 2021.

2. The monographic part includes:
Stefano De Matteis, Gli sciamani non ci salveranno.
Andrea Staid, Essere natura. Uno sguardo antropologico per cambiare il nostro rapporto con l'ambiente, UTET, 2022.

The Philosophy of Literature course aims to explore the transdisciplinary intersection between philosophy and literature from a theoretical perspective, highlighting concepts and themes that testify how philosophical thought relates to literature in different ways, not so much as an object of analysis, rather in terms of their interaction and proximity.
The course will examine the link between philosophical enquiry and its pathological declination in the fiction and non-fiction of the American writer David Foster Wallace, highlighting some conceptual knots - solipsism, addiction, boredom, self-deception - that reveal the fascinating yet problematic interweaving between philosophizing and writing.
The programme will focus on the following topics:
- Introduction to the relationship between philosophy and literature.
- Introduction to the life and work of D.F. Wallace
- Critical analysis of the concepts of solipsism, alienation, boredom in their problematic intertwining of philosophy, literature and pathology
- Exposition of the relationship between addiction, self-deception, and logical paradoxes

Texts for examination

D.F. Wallace, The Empty Plenum: David Markson's Wittgenstein's Mistress, in Both Flesh and Not, Little, Brown and Co 2012.
D.F. Wallace, Good Old Neon, in Oblivion, Little Brown & Co 2004.
D.F. Wallace, The Planet Trillaphon as It Stands in Relation to the Bad Thing, in The Amherst Review, vol. XII (1984).
D.F. Wallace, The depressed person, in Brief Interviews with Hideous Men, Back Bay Books 2000.
D.F. Wallace, Suicide as a sort of present, in Brief Interviews with Hideous Men, Back Bay Books 2000.
G. Baggio, Filosofia e patologia in D.F. Wallace. Solipsismo, noia, alienazione… e altre cose (poco) divertenti, Rosenberg & Sellier 2022.
D. Laing, The Divided Self: An Existential Study in Sanity and Madness, Penguin 2005 (first part).
C. Scarlato, Attraverso il corpo. Filosofia e letteratura in David Foster Wallace, Mimesis 2020 (primo capitolo)
M. Piazza, La scrittura dei filosofi e la filosofia degli scrittori, in «Bollettino Filosofico», n. 210, 2013.

Theme of this year's course: Making home.

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

1. A textbook for the general part:
Ugo Fabietti, Elementi di antropologia culturale, Milano, Mondadori, 2015.
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi 2021.

2. The monographic part includes:
Stefano De Matteis, Gli sciamani non ci salveranno.
Andrea Staid, Essere natura. Uno sguardo antropologico per cambiare il nostro rapporto con l'ambiente, UTET, 2022.

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

Giacomo Ravesi, Le maschere di Dioniso. Figure del corpo tra arti visive, media e tecnologia, Armando, Roma 2021.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of viale Leonardo Da Vinci, n. 168.

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

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

In the first place, the course offers a theoretical and historical reflection on the role gained by the landscape in cinema, investigating its essential characteristics, its evolution over time and its gradual redefinition or resemantization. Then the class analyses cinema representations of landscape, identifying the most relevant forms and meanings it takes on within movies. Finally, the course proposes a taxonomy of landscape in Italian cinema of the 1950s and 1960s.

– Sandro Bernardi, Il paesaggio nel cinema italiano, Venezia, Marsilio, 2002.
– Selection of essays edited by the teacher

The Philosophy of Literature course aims to explore the transdisciplinary intersection between philosophy and literature from a theoretical perspective, highlighting concepts and themes that testify how philosophical thought relates to literature in different ways, not so much as an object of analysis, rather in terms of their interaction and proximity.
The course will examine the link between philosophical enquiry and its pathological declination in the fiction and non-fiction of the American writer David Foster Wallace, highlighting some conceptual knots - solipsism, addiction, boredom, self-deception - that reveal the fascinating yet problematic interweaving between philosophizing and writing.
The programme will focus on the following topics:
- Introduction to the relationship between philosophy and literature.
- Introduction to the life and work of D.F. Wallace
- Critical analysis of the concepts of solipsism, alienation, boredom in their problematic intertwining of philosophy, literature and pathology
- Exposition of the relationship between addiction, self-deception, and logical paradoxes

Texts for examination

D.F. Wallace, The Empty Plenum: David Markson's Wittgenstein's Mistress, in Both Flesh and Not, Little, Brown and Co 2012.
D.F. Wallace, Good Old Neon, in Oblivion, Little Brown & Co 2004.
D.F. Wallace, The Planet Trillaphon as It Stands in Relation to the Bad Thing, in The Amherst Review, vol. XII (1984).
D.F. Wallace, The depressed person, in Brief Interviews with Hideous Men, Back Bay Books 2000.
D.F. Wallace, Suicide as a sort of present, in Brief Interviews with Hideous Men, Back Bay Books 2000.
G. Baggio, Filosofia e patologia in D.F. Wallace. Solipsismo, noia, alienazione… e altre cose (poco) divertenti, Rosenberg & Sellier 2022.
D. Laing, The Divided Self: An Existential Study in Sanity and Madness, Penguin 2005 (first part).
C. Scarlato, Attraverso il corpo. Filosofia e letteratura in David Foster Wallace, Mimesis 2020 (primo capitolo)
M. Piazza, La scrittura dei filosofi e la filosofia degli scrittori, in «Bollettino Filosofico», n. 210, 2013.

Light and the stage
The workshop aims to introduce the students to new concepts and techniques of light in contemporary theatre, referring to the role it plays not only on the level of vision, but also on those of meaning, dramaturgy, action and structuring of space and time.

Optional text:
Fabrizio Crisafulli, Active Light. Issues of Light in Contemporary Theatre, Dublin: Artdigiland 2013

Laboratorio di Arti Digitali: Programma

Obiettivo del Corso: Il corso mira a guidare gli studenti nella creazione del lavoro "Scenari Futuri", un video che esplora il rapporto tra corpo e spazio urbano utilizzando tecniche di grafica digitale in movimento. Gli studenti acquisiranno competenze avanzate nell'utilizzo di Adobe After Effects e altri strumenti correlati per realizzare il progetto.

Struttura del Corso:

Modulo 1: Introduzione ai concetti di base

Presentazione del corso e degli obiettivi.
Panoramica sul lavoro "Scenari Futuri" e sul rapporto corpo-spazio urbano.
Introduzione alle tecniche di animazione e motion graphics.
Conoscenza delle basi di Adobe After Effects.

Modulo 2: Ricerca e ispirazione

Ricerca visuale: raccolta di immagini e fotografie che ispirino il progetto.
Discussione sulle strade da percorrere e le idee creative.
Creazione di un moodboard visivo.

Modulo 3: Progettazione e storyboard

Progettazione di una sequenza di immagini chiave.
Creazione di un storyboard per i layout del video.
Presentazione dei layout in un documento PDF.

Modulo 4: Animazione in Adobe After Effects

Importazione e organizzazione dei documenti in After Effects.
Trasformazione dei singoli livelli: punto di ancoraggio, posizione, scala, rotazione, opacità.
Animazione dei livelli mediante la trasformazione ed interpolazione dei fotogrammi chiave.
Utilizzo delle curve Bézier nel Graph Editor per animazioni complesse.
Progettazione grafica con shape layers.
Introduzione al "Puppet tools" e effetto marionetta.
Utilizzo di maschere vettoriali e livelli di regolazione.
Nidificazione di progetti e precomposizione.
Concetti base di camera e livelli 3D.
Coda di rendering in After Effects.

Modulo 5: Introduzione a Blender

Breve introduzione a Blender per l'animazione 3D.

Modulo 6: Video Compositing

Sovrapposizione e metodi di fusione dei livelli video in After Effects.
Lavorare con il chiave colore e il green screen.
Uso di Alpha e luma matte.
Modulo effetti avanzati: Lumetri color, KeyLight.
Tracking 3D e stabilizzazione camera.
Introduzione al modulo di plug-in Mocha Shape.
Modulo di rendering esterno Adobe Media Encoder.

Modulo 7: Revisione e Presentazione Finale

Revisione dei lavori degli studenti.
Perfezionamento e rifinitura dei progetti.
Presentazione finale dei lavori "Scenari Futuri".

Valutazione:
Gli studenti verranno valutati sulla base della loro partecipazione attiva alle lezioni, del progresso nei progetti e della presentazione finale di "Scenari Futuri".

Questo programma si propone di offrire delle conoscenze tecniche di motion graphics e progettazione, con un focus particolare su Adobe After Effects e strumenti correlati. Gli studenti avranno l'opportunità di sviluppare le proprie competenze creative e tecniche mentre lavorano al progetto finale.






—-------------------------------------------------------



Digital Arts Laboratory: Program

Course Objective: The course aims to guide students in the creation of the work "Scenari Futuri", a video that explores the relationship between the body and urban space using digital motion graphics techniques. Students will gain advanced skills in using Adobe After Effects and other related tools to realize the project.

Course Structure:

Module 1: Introduction to basic concepts

Presentation of the course and objectives.
Overview of the work "Scenari Futuri" and the relationship between body and urban space.
Introduction to animation and motion graphics techniques.
Knowledge of the basics of Adobe After Effects.

Module 2: Research and inspiration

Visual research: collection of images and photographs that inspire the project.
Discussion on the ways forward and creative ideas.
Creating a visual mood board.

Module 3: Design and storyboard

Designing a key image sequence.
Creating a storyboard for video layouts.
Presentation of layouts in a PDF document.

Module 4: Animation in Adobe After Effects

Importing and organizing documents in After Effects.
Transformation of individual layers: anchor point, position, scale, rotation, opacity.
Layer animation using keyframe transformation and interpolation.
Using Bézier curves in the Graph Editor for complex animations.
Graphic design with shape layers.
Introduction to "Puppet tools" and marionette effect.
Using vector masks and adjustment layers.
Project nesting and precomposition.
Basic concepts of room and 3D levels.
Render queue in After Effects.

Module 5: Introduction to Blender

Brief introduction to Blender for 3D animation.

Module 6: Video Compositing

Overlaying and blending modes of video layers in After Effects.
Working with color key and green screen.
Using Alpha and luma matte.
Advanced effects module: Lumetri color, KeyLight.
3D tracking and camera stabilization.
Introduction to the Mocha Shape plugin module.
External renderer Adobe Media Encoder.

Module 7: Review and Final Presentation

Review of student work.
Perfecting and finishing projects.
Final presentation of the "Future Scenarios" works.

Assessment:
Students will be evaluated on the basis of their active participation in lessons, progress in projects and the final presentation of "Future Scenarios".

This program aims to offer technical knowledge of motion graphics and design, with a particular focus on Adobe After Effects and related tools. Students will have the opportunity to develop their creative and technical skills as they work on their final project.

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

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

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

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

Calendar of activities:

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

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

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

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

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

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

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

Lesson 8
Making a photographic project
Introduction to digital editing

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

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

Lesson 11
Review and comment on students' photographic projects

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

There are no mandatory books

The course aims to answer the following questions:
how do you find a story?
how do you tell a story?
the role of the narrator
the point of view
what makes a story universal?

Io ero il Milanese di Mauro pescio e Lorenzo S ed. Mondadori

(we also recommend listening to the homonymous podcast on raiplaysound)

Travel journals - Valerio Daniel De Simoni

Diaries - Valerio Daniel De Simoni

De Simoni's diaries will also be available in pdf

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

Titolo: Story – Contenuti, struttura, stile, principi per la sceneggiatura e per l’arte di scrivere storie
ISBN-10: 8896450039
ISBN-13: 9788896450031
Autore: Robert McKee
Collana: Scrittura creativa
Editore: Omero
Titolo: Manuale di sceneggiatura cinematografica
Sottotitolo: Teoria e pratica
ISBN-10: 8860081416
ISBN-13: 9788860081414
Autore: Luca Aimeri
Collana: Collana di cinema
Editore: UTET
Titolo: La sceneggiatura
Sottotitolo: Il film sulla carta
ISBN-10: 8885838634
ISBN-13: 9788885838635
Autore: Syd Field
Collana: Istruzioni per l’uso
Editore: Lupetti
Titolo: Save the cat! Manuale di sceneggiatura
ISBN-10: 8896450195
ISBN-13: 9788896450192
Autore: Blake Snyder
Collana: Scrittura creativa
Editore: Omero
Titolo: Scriviamo un film – Manuale di sceneggiatura
ISBN-10: 884282058X
ISBN-13: 9788842820581
Autore: Age
Collana: La piccola cultura
Editore: Il Saggiatore
Titolo: Come scrivere una grande sceneggiatura
ISBN-10: 8875271518
ISBN-13: 9788875271510
Autore: Linda Seger
Collana: Manuali di Script
Editore: Audino
Titolo: L’arco di trasformazione del personaggio
ISBN-10: 887527018X
ISBN-13: 9788875270186
Autore: Dara Marks
Editore: Audino
Un testo a scelta tra i seguenti per approfondire argomento
I tre usi del coltello. Saggi e lezioni sul cinema
di David Mamet (Autore), F. Abbinante (Traduttore)
Consigli a un giovane scrittore
di Vincenzo Cerami
La sceneggiatura. Un testo dall'esistenza incerta
di Daniela Ceselli ( Le Lettere)

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

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

1) I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001

2) A. Breton, Nadja, Torino, Einaudi, 2007

3) V. Magrelli, Profilo del dada, Roma, Laterza 2006 o 2019 (only second half)

Travelling, seeing, XXth Century and Beyond

a-b) two among next texts (or combinations of texts):

Carlo Emilio Gadda, Verso la Certosa, Milano, Adelphi, 2013 + I viaggi la morte, Milano, Adelphi, 2023; or

Guido Piovene, Viaggio in Italia, Milano, Bompiani, 2017; or

Pier Paolo Pasolini, La lunga strada di sabbia, Roma, Contrasto, 2014 + Id., L’odore dell’India, Milano, Garzanti, 2015; oppure

Giorgio Manganelli, Esperimento con l’India, Milano, Adelphi, 1992 + Id., La favola pitagorica, Milano, Adelphi, 2005 + Id., L’isola pianeta, Milano, Adelphi, 2006; oppure

Goffredo Parise, Guerre politiche, Milano, Adelphi, 2007 + Id., L’eleganza è frigida, Milano, Adelphi, 2008 + Id., Lontano, Milano, Adelphi, 2015; oppure

Alberto Arbasino, America amore, Milano, Adelphi, 2011; oppure

Gianni Celati, Narratori delle pianure, Milano, Feltrinelli, 2018 + Id., Verso la foce, Milano, Feltrinelli, 2018 + Id., Avventure in Africa, Milano, Feltrinelli, 2011; oppure

Vitaliano Trevisan, Tristissimi giardini, Bari-Roma, Laterza, 2010 [or Id., Black Tulips, Torino, Einaudi Stile Libero 2022] + Antonella Anedda, Geografie, Milano, Garzanti, 2020 + Con gli occhi aperti, a cura di Andrea Cortellessa, Roma, Exòrma, 2016

c) Luigi Marfè, Oltre la «fine dei viaggi». I resoconti dell’altrove nella letteratura contemporanea, Firenze, Olschki 2009

d) to give a context in 20th and 21st century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, quarto volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

The course will propose, through examples taken from the major experiences of theatres of the twentieth century, the processes of formation and creation of the principles of scenic life, with particular attention to the construction of the character and the composition of physical and vocal actions

Lecture notes edited by the teacher, (available at the beginning of the course on the site https://sites.google.com/com/site/stefanogeraci1); Vasilij Osipovič Toporkov Stanislavskij alle prove.Gli ultimi anni: il metodo delle azioni fisiche; CUE PRESS;L. Jouvet, Lezioni su Moliére, La casa Usher, 2023.
Text books for the non-attending students : V. Mejercol’d, L’attore biomeccanico, a.c. di F. Malcovati, Cuepress, 2020

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

There is not a course book.

Identify the subject of the story and the
subtext. Choice of the point of view adopted to
tell the story and practical exercises starting from
the loglines presented by the students.

How to proceed in writing a screenplay-
treatment for documentary cinema and exercises
with viewing excerpts from a selection of
documentary films.
The different methodologies to adopt to make a
documentary film compared to subjects and
history: the most analytical approach of study
and in-depth knowledge of the character before
the start of the shooting, and the most direct
approach to discovering the character and the
story together with the camera. Exercises
starting from the stories identified by the
participants.

On the basis of the adopted point of view and
of the language used, choice of technical


shooting equipment, sound and crew necessary
for the realization of the documentary film.

Shooting techniques: formats, lenses, and
accessories. Practical exercises are foreseen
starting from the loglines sent by the students.

Shooting: hand camera, tripod and
steadycam. How, why and when to use them.
Practical exercises are planned.

Scenes: how to set up the shooting and why.
Cuts and shots.

Cinematographic sequences, how to
approach them and which grammar to use.
Expressive choices and aesthetic choices.

Sound, between shooting, editing and audio
mix.
Starting from the subjects proposed by the
students, collective workshop on the authors'
narrative, stylistic and technical project and
analysis of the shots taken.



Assembly: what it is and how to deal with it.
From the choice and the lineup of materials, to
the actual rewriting and research of dramaturgy
through images.

Post-production, music, titles and effects. The
invisible importance of careful finalization.

The class includes a brief historical excursus of documentary films.

Afterwards there will be a selection of subjects proposed by the students based on a topic given by the the teacher and developed during classes.

The selected subjects will be realized in individual or group works.

Limits of duration and setting woulb eventually be communicated at the beginning of the classes.

Maximum number of class participants: 30 people.

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

Recommended books:

- Gianfranco Pannone. "È reale? Guida empatica del cinedocumentarista". Artdigiland, 2021.
- Lorenzo Hendel. "Il documentario narrativo. Come inventare una storia vera". Dino Audino. 2021.
- Simone Aleandri, Roberto Moliterni "Fare un documentario. Scrivere, girare e produrre cinema del reale". Dino Audino. 2020.

Recommended books:

- Gianfranco Pannone. "È reale? Guida empatica del cinedocumentarista". Artdigiland, 2021.
- Lorenzo Hendel. "Il documentario narrativo. Come inventare una storia vera". Dino Audino. 2021.
- Simone Aleandri, Roberto Moliterni "Fare un documentario. Scrivere, girare e produrre cinema del reale". Dino Audino. 2020.

The course will be divided into two floors;

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

- THE STRUCTURE IN THREE ACTS (which is rooted in Freudian psychology)

- THE HERO'S JOURNEY BY C. VOGLER (which is rooted in Jungian psychology)

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

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

The bibliography will be provided during the lessons

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

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

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

Travelling, seeing, XXth Century and Beyond

a-b) two among next texts (or combinations of texts):

Carlo Emilio Gadda, Verso la Certosa, Milano, Adelphi, 2013 + I viaggi la morte, Milano, Adelphi, 2023; or

Guido Piovene, Viaggio in Italia, Milano, Bompiani, 2017; or

Pier Paolo Pasolini, La lunga strada di sabbia, Roma, Contrasto, 2014 + Id., L’odore dell’India, Milano, Garzanti, 2015; oppure

Giorgio Manganelli, Esperimento con l’India, Milano, Adelphi, 1992 + Id., La favola pitagorica, Milano, Adelphi, 2005 + Id., L’isola pianeta, Milano, Adelphi, 2006; oppure

Goffredo Parise, Guerre politiche, Milano, Adelphi, 2007 + Id., L’eleganza è frigida, Milano, Adelphi, 2008 + Id., Lontano, Milano, Adelphi, 2015; oppure

Alberto Arbasino, America amore, Milano, Adelphi, 2011; oppure

Gianni Celati, Narratori delle pianure, Milano, Feltrinelli, 2018 + Id., Verso la foce, Milano, Feltrinelli, 2018 + Id., Avventure in Africa, Milano, Feltrinelli, 2011; oppure

Vitaliano Trevisan, Tristissimi giardini, Bari-Roma, Laterza, 2010 [or Id., Black Tulips, Torino, Einaudi Stile Libero 2022] + Antonella Anedda, Geografie, Milano, Garzanti, 2020 + Con gli occhi aperti, a cura di Andrea Cortellessa, Roma, Exòrma, 2016

c) Luigi Marfè, Oltre la «fine dei viaggi». I resoconti dell’altrove nella letteratura contemporanea, Firenze, Olschki 2009

d) to give a context in 20th and 21st century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, quarto volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

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

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

The course will follow a chronological path through the history of documentary film through some keywords. The historiographical path structured in a chronological way will be articulated through some thematic articulations concerning above all the ethical questions (representability or irrapresentability of some aspects of the real) in relation to the starting reality and the social actor, the performative and authorial issue of documentary cinema and the question of spectator reception. The chosen filmography follows an exemplary path both from the historical and thematic point of view. The second part of the class will be focused on the role of the voice in documentary cinema.
The course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.

Bibliography:
Alma Mileto, La voce del reale. Il rapporto voce-immagine nel cinema documentario, Meltemi editore, collana "Cinema, arti e culture visive", 2023 (to be published).

Extra texts could be downloaded at the beginning of the class from Moodle.


Filmography:
Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)

Stevan Riley, Listen to me Marlon (2015)

"California Dreamin'"

Everybody's Autobiography, Gertrude Stein, 1937

The Last Tycoon, Francis Scott Fitzgerald, 1941

"A Journey into the Mind of Watts", Thomas Pynchon, 1966

Slouching towards Bethlem, Joan Didion, 1969

Kindred, Octavia Butler, 1979

The Beautiful Struggle, Ta-Nehisi Coates, 2008

Everybody's Autobiography, Gertrude Stein, 1937

The Last Tycoon, Francis Scott Fitzgerald, 1941

Slouching towards Bethlem, Joan Didion, 1969

Kindred, Octavia Butler, 1979

The Beautiful Struggle, Ta-Nehisi Coates, 2008

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

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

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

Material provided by the lecturer.

The course aims to pinpoint and analyze the main tendencies of the contemporary audiovisual fiction narrative, addressing hegemonic imaginaries as well as the subversive trajectories delineated by film and television series in Europe and the United States.
The course addresses, in particular: postclassic/postmodernism in 1980s and 1990s; audiovisual aesthetics, subjectivity and gender identity; postcolonialism/globalization; complex television, serial narratives, and transmedia storytelling.
The final syllabus and program will be published at the beginning of the course.

Ilaria A. De Pascalis, a cura di, "Kathryn Bigelow", Marsilio, 2023
Antologia di saggi a cura della docente.
The final program, with the full bibliography and filmography, will be published at the beginning of the course.

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

Material provided by the lecturer.

The first part gives an overview on the concepts of gender and sexuality, with particular regard to the social constructivist approaches, queer studies and intersectional feminism perspective. The course aims to provide students with the methodological tools to analyse communication practices in various media (whether digital or not) from a gendered perspective. The second part is dedicated to lab activities and seminar with academic experts, students will be able to analyse different media materials and devices on the basis of what they have learnt during the first part of the course.

- D. Richardson (2015), Conceptualising Gender, in V. Robinson & D. Richardson (eds), Gender and Women’s Studies, Palgrave, pp. 3-22
- A. L. Tota (2008), Inquinamento visuale e sostenibilità dell'immaginario in A. L. Tota (a cura di), Gender e media. Verso un immaginario sostenibile, Meltemi, Milano, first chapter, pp. 15-38.
- Manuale di A.L. Tota, A. De Feo, L. Luchetti, forthcoming (more information will be given)
- S. Capecchi (2014), Methodological problems in gender and media research, Qual Quant, 48, pp. 837–844

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

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

The workshop is organised as a mixed pedagogical setting that alternates stage practice with historical reflection, aiming to provide some tools that lead to achieving the wholeness of actorial presence, made up of body and voice. Particular attention will be given to listening and group collaboration, which form the basis of every theatrical creation.
But what do actresses and actors do to prepare for their work? If we ask the same question when thinking of those who dance, we imagine hours of physical exercises, or those who play music, scales and arpeggios immediately come to mind. In the common imagination, on the other hand, it is not very clear how actors and actresses prepare themselves, since only apparently do actors and actresses act on stage as they do in everyday life, and consequently they would not seem to need to train. The workshop will attempt to dispel this cliché by focusing on the training necessary for the acting task, traversing and exploring territories linked to practices and principles that transversally belong to different disciplines, and to different methods and traditions, performative and not.
The working days are imagined to be made up of various moments that will follow one another while blending together: a first part of bodily and vocal training aimed at generating the individual and group presence necessary for theatrical work; a second moment of scenic composition and creation starting from the themes and textual suggestions; a third part of work on the text in which all the preparatory work will come together. For each phase of this process, the working instrument will be our body, made up of joints, muscles and breath. The composition will therefore be a sum of bodies and voices, harmonic and/or dissonant, which will act as a choral basis for the emergence of individualities.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
Each day will propose a different path to the words of the text, mixing techniques and methods of composition, with the intention of testing different approaches to the word and the scenic creation.

Italian translation of the play by William Shakespeare, Macbeth in the version and edited by Alessandro Serpieri and published by Giunti in 2004 (ISBN: 9788809033597) no longer in print but available in Italian libraries by consulting the OPAC SBN site (https://opac.sbn.it/). Alternatively, participants can read the later edition, also by Giunti, which can be purchased but without the introductory apparatus and notes (ISBN 9788809831391).

The class includes a brief historical excursus of documentary films.

Afterwards there will be a selection of subjects proposed by the students based on a topic given by the the teacher and developed during classes.

The selected subjects will be realized in individual or group works.

Limits of duration and setting woulb eventually be communicated at the beginning of the classes.

Maximum number of class participants: 30 people.

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

Recommended books:

- Gianfranco Pannone. "È reale? Guida empatica del cinedocumentarista". Artdigiland, 2021.
- Lorenzo Hendel. "Il documentario narrativo. Come inventare una storia vera". Dino Audino. 2021.
- Simone Aleandri, Roberto Moliterni "Fare un documentario. Scrivere, girare e produrre cinema del reale". Dino Audino. 2020.

Recommended books:

- Gianfranco Pannone. "È reale? Guida empatica del cinedocumentarista". Artdigiland, 2021.
- Lorenzo Hendel. "Il documentario narrativo. Come inventare una storia vera". Dino Audino. 2021.
- Simone Aleandri, Roberto Moliterni "Fare un documentario. Scrivere, girare e produrre cinema del reale". Dino Audino. 2020.

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

The bibliography will be provided during the lessons

The course will be divided into two floors;

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

- THE STRUCTURE IN THREE ACTS (which is rooted in Freudian psychology)

- THE HERO'S JOURNEY BY C. VOGLER (which is rooted in Jungian psychology)

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

Computer training for creating music and processing sound; exercises on the foundations of music theory

Selection of essays provided by the teacher during the course

Since teen-agers appeared after World War II, youth cultures have shown their independence from the adult world in a contrast that only in recent times seems to be weakening. With the advent of cultural studies, started in Great Britain in the ‘60s, sociologists and popular music scholars have been discussing such trends for their strong connotation in terms of style and music.
The course aims to provide students with the theoretical and methodological tools to analyse sense and meaning of youth cultures from their birth in the ‘50s until our days, being as they were (and are) in a conflicting entanglement with the mass media that amplify them and make them popular.
Beginning with the American and British scene, we will analyse how youth cultures manifested themselves, focusing in particular on the kinds of music they adopted. Attention will be given particularly to the Italian scene, deeply and for long marked by alternative music trends which, from the ‘60s onwards, found in singer-songwriters (“cantautori”), in rock and in rap music, their favoured way of communication.

Chambers Iain, Ritmi urbani, Meltemi, Sesto San Giovanni 2018.
Alemanni Cesare, Rap, Minimum Fax, Roma 2019.

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

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

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

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

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

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

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

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

PROGRAMME

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

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

The teaching material will consist of handouts by the Professor, accompanied by articles, papers and in-depth regulatory documentation. The material will be uploaded by the teacher on the Teams channel of the course

The program will take place through lectures and meetings with industry professionals. The course topics mainly concern the following thematic areas:
- European and international audiovisual market
- Elements of cinema and audiovisual economics
- The cinematographic and audiovisual supply chain: the various phases from development to post-production
- Public and private funding sources
- Financial business models in audiovisual production
- The distribution sector and marketing strategies
- The movie theaters

Economy, Management and Finance of the Cinematographic and Audiovisual Company
CELATA GIANDOMENICO
https://www.hoepli.it/autore/celata_giandomenico.html?autore=%5b%5bcelata+giandomenico%5d%5d&
Handouts and teaching materials will be uploaded to the Teams channel to accompany the exam text.

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

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

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

Musica e società, 2: Dal 1640 al 1830, a cura di Paolo Fabbri, Alessandro Roccatagliati e Paolo Russo, Lucca, LIM, 2019 (selected parts)
Musica e società, 3: dal 1830 al 2000, a cura di Virgilio Bernardoni e Paolo Fabbri, Lucca, LIM, 2016 (selected parts)
ANTHONY BAINES, Storia degli strumenti musicali, Milano, Rizzoli, Milano, Rizzoli, 1995 (selected parts)

The course examines the history of photography from its origins to today, considering photography as both a medium of artistic expression and as a social practice. We will analyze the Nineteenth-century origins of the medium, its ever more pervasive dissemination in all the spheres of everyday life, and the main technological metamorphoses that have shaped its development, up to the digital transition and the current employment in the online context. Discussing some of the most important artists of the medium (from Talbot to Nadar, from Alfred Stieglitz to Henri Cartier-Bresson, from Saul Leiter to Letizia Battaglia) and some of its foremost scholars (Walter Benjamin, Roland Barthes, Susan Sontag, Allan Sekula and others), we will reflect on the elements that grant photography its expressive force, and on the kind of involvement these images may elicit in us as viewers.
More specifically, we will investigate the concept of “street photography” as a specific kind of photographic practice that intersects a wide array of different photographic genres (documentary photography, architectural photography, fashion photography, and so on). Precisely because of its hybrid nature, street photography can be profitably examined to reflect on the complex nexus between photography and modernity. Finally, the study of the influence exerted by Berenice Abbott’s photographic opus upon the cinematic rendition of New York in Sergio Leone’s film “Once Upon a Time in America” will allow us to reflect on the relationship between still and moving images.

The syllabus with the final course program will be made available around the start of the course itself.

Lorenzo Marmo, "Street Photography. La modernità, New York, il cinema" (Mimesis, 2023).
Collection of essays selected by the professor.

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

Main reference text:

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

A book to be chosen from:

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

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

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

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

Suggestive filmography (subject to revision):
Raggio di luce, o Episodio della guerra di Tripoli (Cines, 1911)
Sulle orme dei nostri pionieri (Istituto Luce, 1936)
Scipione l’africano (Carmine Gallone, 1937)
Emigrantes (Aldo Fabrizi, 1949)
Angelo tra la folla (Leonardo De Mitri, 1950)
Akiko (Luigi Filippo D’Amico, 1961)
I due nemici (Guy Hamilton, 1961)
Il carabiniere a cavallo (Carlo Lizzani, 1961)
L’oro di Roma (Carlo Lizzani, 1961)
Faustina (Luigi Magni, 1968)
Appunti per un’Orestiade africana (Pier Paolo Pasolini, 1970)
Nell’anno del signore (Luigi Magni, 1970)
L’altra donna (Peter Del Monte, 1981)

The course aims to provide students with theoretical and methodological tools to focus on popular music since its inception, as part of the industrial revolution, to our days. Starting from the very same definition of "popular music", the meaning of the expression itself will be clarified, especially in relation to the Italian use of the word "popolare" and to the other Italian terms utilized for music of this kind ("folk", "traditional" and the likes). Next to that, the context which gave birth to popular music will be explored (urbanization, technological development, the spread of mass media) to follow its history along the whole Twentieth century and the first decades of the new century in relation to the folk, jazz and classical tradition.
Given to the multidimensional nature of the object, the course adopts a multidisciplinary perspective, which necessarily needs not only musicological and ethnomusicological resources but also sociological and anthropological ones.
The programme, by means of audio and video materials (and with maps, records and music scores), will handle the different genres which make up popular music, both in the West and in the rest of the world, and with the environment in which they took place (theatres, café-chantants, cabarets). The relationship between oral and written music, the advent of recording, the birth of the microphone, the electrification and the amplification of musical instruments, the creative use of the recording studio, the relationship between music and noise will also be discussed: namely, all that makes popular music what it is today.
Lots of space will be given to the break-in of African American music genres, with their peculiar features and their lexicon (swing, groove, riff etc.) for the strong influence they had on rock music (a genre which will be analyzed in detail even in its spectacular component). Last but not least, we will be discussing the folk music revival, in its national variants, and with its evolution in what was called "world music".
Italian song will also be dealt with, including the "fracture" caused by the "cantautori" ("singer-songwriters").

Basciano Fabrizio, Manuale di storia della popular music e del jazz, Volonté & Co. 2024.
(in alternativa, Fabbri Franco, Storia della popular music, Utet, Torino 2016).
Mignogna Dino, La musica possibile, Arcana, Roma 2022.

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

None. It is essentially a practical workshop.

The schedule of the filmaking lab is organized in three different parts:
a) theory on film writing and the language of cinema and visual choices (the idea, the story and the opening scenes of the final script);
b) film directing - visual culture, shots and close up, film grammar, soundtrack on dialogues, sound and music;
c) filming a shortmetrage, a trailer or a teaser of the opening scene of the film (it has to be made with digital devices - smartphone, digital camera or camcorder).
The morals, the basic of the Filmmaking 4 lab is the creative freedom of the filmmaker (director, screenplayer).

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

The workshop aims to provide an overview of the audiovisual post-production phases, from the acquisition of the material to finalization of the audiovisual product, passing through its processing, with a particular focus about the role of post-production coordinator and on the management of a productive workflow, which involves professional figures such as the editor, the colorist, the vfx artist and the sound designer.

At the same time, the workshop aims to provide, mainly through the use of the dedicated Blackmagic DaVinci Resolve software, technical knowledge on the following topics:

- technical review of a screenplay for the post-production departments;
- acquisition and archiving of material;
- project setup and proxy creation;
- video editing;
- color correction and color grading;
- compositing;
- motion graphics;
- sound editing;
- finalization and export of the audiovisual product

In consideration of the nature of the workshop, no reference texts are provided.

- THE CULTURAL INDUSTRY
- MUSIC AND AUDIOVISUAL JOBS
- ARTISTIC IDENTITY
- SWOT ANALYSIS
- MARKETING PLAN
- TIME MANAGEMENT
- PROMOTION STRATEGIES
- NEW MEDIA AND JOURNALISM
- COMMUNICATION PLAN
- SOCIAL MANAGEMENT
- PORTFOLIO (BIO, PHOTOS, CV, VIDEO, ETC.)
- CASE STUDIES
- PR
- BUSINESS PLAN

Ayroldi, A. [con il contributo di Fiorenza Gherardi de Candei, Sabrina Pecoraro] (2023). Fatti e Misfatti dell’industria musicale italiana. Roma: Arcana

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

1) I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001

2) A. Breton, Nadja, Torino, Einaudi, 2007

3) V. Magrelli, Profilo del dada, Roma, Laterza 2006 o 2019 (only second half)

The workshop aims to provide an overview of the audiovisual post-production phases, from the acquisition of the material to finalization of the audiovisual product, passing through its processing, with a particular focus about the role of post-production coordinator and on the management of a productive workflow, which involves professional figures such as the editor, the colorist, the vfx artist and the sound designer.

At the same time, the workshop aims to provide, mainly through the use of the dedicated Blackmagic DaVinci Resolve software, technical knowledge on the following topics:

- technical review of a screenplay for the post-production departments;
- acquisition and archiving of material;
- project setup and proxy creation;
- video editing;
- color correction and color grading;
- compositing;
- motion graphics;
- sound editing;
- finalization and export of the audiovisual product

In consideration of the nature of the workshop, no reference texts are provided.

- THE CULTURAL INDUSTRY
- MUSIC AND AUDIOVISUAL JOBS
- ARTISTIC IDENTITY
- SWOT ANALYSIS
- MARKETING PLAN
- TIME MANAGEMENT
- PROMOTION STRATEGIES
- NEW MEDIA AND JOURNALISM
- COMMUNICATION PLAN
- SOCIAL MANAGEMENT
- PORTFOLIO (BIO, PHOTOS, CV, VIDEO, ETC.)
- CASE STUDIES
- PR
- BUSINESS PLAN

Ayroldi, A. [con il contributo di Fiorenza Gherardi de Candei, Sabrina Pecoraro] (2023). Fatti e Misfatti dell’industria musicale italiana. Roma: Arcana

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

1) I. Berlin, Le radici del romanticismo, Milano, Adelphi, 2001

2) A. Breton, Nadja, Torino, Einaudi, 2007

3) V. Magrelli, Profilo del dada, Roma, Laterza 2006 o 2019 (only second half)

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

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