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

The course aims to highlight the convergence, or even the substantial identity, between the two famous Aristotelian definitions of Homo sapiens: "animal that has language" and "political animal". By studying the texts of some important linguists and philosophers of language (E. Benveniste, JL Austin), as well as the major work of Hannah Arendt, Vita activa, we would like to clarify the reasons why verbal language must be considered the biological organ of public practice.
E. BENVENISTE, Problems of general linguistics, Il Saggiatore, Milan 1971, limited to pages 301-347, including the following essays: The nature of pronouns, The subjectivity in language, The analytic philosophy and language. Available in photocopy.

E. BENVENISTE, Problems of general linguistics II, Il Saggiatore, Milan 1987, limited to the following essays: The language and human experience, pp. 83-95; The formal apparatus of the enunciation, pp. 96-106. Available in photocopy.

H. ARENDT, Vita activa, Bompiani (paperback edition, on the market), limited to chapters 1, 2, 5. To be purchased.

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 Musically Beautiful, Hackett Publishing, Indianapolis 1986 (chapters 1,2,3).
Langer, S., Philosophy in a New Key, Harvard University Press, Cambridge (MA) 1990 (ch. 8: On Significance in Music).
Lentini, D., La musica e le emozioni. Percorsi nell’estetica analitica, Mimesis, Milano, 2014 (selected essays).
Bertinetto, A., Il pensiero dei suoni. Temi di filosofia della musica, Bruno Mondadori, Milano, 2012 (ch. 3: Una scienza emozionale, pp. 99-154)
Kivy, P., Introduction to a Philosophy of Music, Oxford University Press, Oxford, 1998 (selected chapters).

Art and new media in the 20th century

During the 20th century the artistic movements challenged the centrality of traditional media (painting, sculpture, etc.). From Dada to Pop Art, from Cubism to Surrealism and up to the Sixties, avant-garde art redefined the nature of the work of art, of its theoretical and material characters, and the artistic use of new media (photography, film, video) became integral to the creative practices.

The course addresses the key moments of this process during the period 1900-1970, through a close examination of key works and figures and guided readings of essential texts on the subject.

Classes are all available on Stream. Accessible from this page: https://www.uniroma3.it/en/persone/cFpYMElOZE1jSTNiTjFtQ1p0NlhaSTJqSkFpU2VJMEc0cFpHamZ1LzFoRT0=/ricevimento/

• Philippe Dubois, L’atto fotografico, Urbino 2009, pp. 25-108 [PDF]
• Claudio Marra, Fotografia e pittura nel Novecento, Milano 2012
• Denis Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002.

Textbook

• Hal Foster et al., Art since 1900, Thames & Hudson [PDF]

Some of these texts are available on the course channel repository on Teams.

In the second half of the XXth Century, artistic movements definitively dismantled the notion of the “specificity” of the medium (painting, sculpture etc.), one of the pillars of the modernist aesthetic. From new dada to pop art, from Fluxus to the movements born in the second half of the 1960s, to postmodernist practiced based on appropriation, distinctions between media were abolished and replaced by creative practices in which conceptual, allegorical and performative elements imposed a radical redefinition of the work of art through the annexation of new media (photography, film, video, digital images).
The course deals with key moments of this process from the1850s to the 1970s through close examination of key works from the period, and readings of critical essays on the subject.

1)
S. Bordini (a cura di), Arte contemporanea e tecniche. Materiali, procedimenti, sperimentazioni, Carocci, Roma 2007

F. Poli (a cura di), Arte moderna. Dal Postimpressionismo all’Informale, Electa, Milano 2007 (i seguenti saggi: C. Zambianchi, Le ricerche postimpressioniste, pp. 10-29; M. Lorandi, Simbolismo, pp. 30-53)[PDF download area, professor's website]

V.I. Stoichita, Dello sguardo ostacolato. Per una storia dell’Impressionismo, in “Annali della Fondazione Europea del Disegno”, Il Melangolo, Genova 2009, pp. 65-87 [PDF download area, professor's website]

V.I. Stoichita, La pittura impressionista vista da e con Schapiro: Caillebotte e l’intreccio visivo, in Meyer Schapiro e i metodi della storia dell’arte, a cura di L. Bortolotti, C. Cieri Via, M.G. Di Monte, M. Di Monte, Mimesis Edizioni, Milano – Udine 2010, pp. 105-113 [PDF download area, professor's website]

W. Benjamin, L’opera d’arte nell’epoca della sua riproducibilità tecnica, prima stesura dattiloscritta (1935-1936) [PDF download area, professor's website]

2)
Selection of images available for attending and non-attending students [PDF download area, professor's website].

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 Musically Beautiful, Hackett Publishing, Indianapolis 1986 (chapters 1,2,3).
Langer, S., Philosophy in a New Key, Harvard University Press, Cambridge (MA) 1990 (ch. 8: On Significance in Music).
Lentini, D., La musica e le emozioni. Percorsi nell’estetica analitica, Mimesis, Milano, 2014 (selected essays).
Bertinetto, A., Il pensiero dei suoni. Temi di filosofia della musica, Bruno Mondadori, Milano, 2012 (ch. 3: Una scienza emozionale, pp. 99-154)
Kivy, P., Introduction to a Philosophy of Music, Oxford University Press, Oxford, 1998 (selected chapters).

- 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.

F. DELL'AVERSANA (a cura di), Manuale di diritto delle arti e dello spettacolo, Aracne, Roma, 2015 (disponibile anche in e-book), limitatamente ai seguenti Capitoli: I, II, III, IV, V, IX, X, XIII, XVI.

• Musical iconography: musical subjects in the visual arts and analogies between musical and visual structures; in-depth study of formal analogies between music and moving images
• Organized sound and cinema: historical background
• Focus on the relationship between organized sound and visual structures in contemporary cinema

1. ROBERTO CALABRETTO, Lo schermo sonoro: la musica per film, Venezia, Marsilio, 2010
2. SERGIO MICELI, Musica per film. Storia, estetica, analisi, tipologie, Milano, Ricordi-LIM, 2009; parte II, capitoli 3-6, da p. 631 a p. 700.
3. LUCA AVERSANO, Musica in schermo. Note sul rapporto tra ascolto e visione, in Sounds for Silents. Il Futurismo tra cinema e musica, a cura di Luca Aversano, Paolo Bertetto e Giandomenico Celata, Roma, Idea, 2019, pp. 53-64.
4. VOLKER SCHERLIESS, Musica picta, in Dipingere la musica. Strumenti in posa nell’arte del Cinque e Seicento, a cura di Sylvia Ferino-Pagden, Milano, Skira, 2000, pp. 23-29.
5. MARIA TERESA ARFINI, Musical Landscape. Correspondences between Music and Painting in Germany of the Early Nineteenth Century, «Music in Art», XXXIX/1-2, 2014, pp. 125-144.
6. MARIA TERESA ARFINI, Abstract Film as Music to View: Early Experiments of Hans Richter, Walther Ruttmann and Oskar Fischinger, «Music in Art», XXXVIII/1-2, 2013, pp. 183-191.
7. FRANCESCO FINOCCHIARO, Arnold Schönberg e il cinema tedesco: la “Begleitungsmusik” op. 34 tra musica per film e musica a programma, Atti del Seminario “La musica per film nella Repubblica di Weimar”, Bologna, 10 febbraio 2011, pp. 2-16.
8. FRANCESCO FINOCCHIARO, L’Interludio filmico della “Lulu” di Alban Berg, «Nuova Secondaria», XXXI / 10, 2014, pp. 73-79.
9. ROBERTO CALABRETTO, L’”Amleto” di Grigorij Kozincev, in Dmitrij Šostakovič tra musica, letteratura e cinema, a cura di Rosanna Giaquinta, Firenze, Olschki, 2008, pp. 277-327.
10. MARCO ALUNNO, Compositori d’area colta nel cinema del secondo Novecento, in La musica nel cinema e nella televisione, a cura di Roberto Giuliani, Milano, Guerini, 2011, pp. 51-64.
11. LUCA AVERSANO, Dialettica musicale e metafisica delle emozioni in “Morte a Venezia” di Luchino Visconti, in Il cinema e le emozioni, a cura di Giorgio De Vincenti, Roma, Edizioni fondazione ente dello spettacolo, 2012, pp. 249-264.
12. ROBERTO CALABRETTO, La musica nel cinema di Pasolini e Antonioni, in La musica nel cinema e nella televisione, a cura di Roberto Giuliani, Milano, Guerini, 2011, pp. 113-124.
13. KATE MCQUISTON, We’ll Meet Again: Musical Design in the Films of Stanley Kubrick, Oxford-New York, Oxford University Press, 2013, cap. 4 e cap. 6, pp. 87-106 e pp. 128-162.
Further texts and handouts will be made available, together with their list, on the Moodle platform

Passions and Emotions
The course focuses on the topic of emotions from a historical-theoretical perspective. More specifically, the transition from a philosophy of passions to a science of emotions is explored by analysing some texts of the philosophical and scientific literature on the subject.

Module A - Passions and emotions: Descartes and Peirce
The program of Module A will focus on the following topics:
- Introduction to the historical-theoretical meanings of the notions of passion and emotion
- Cartesian theory of passions
- Ch. S. Peirce's anti-Cartesianism.

Module B - Passions and emotions: Hume, pragmatism, and the social theory of emotions.
The program of Module B will focus on the following topics:
- The Humean treatment of passions.
- Introduction to the birth of a science of emotions: Darwin's evolutionism and his theory of emotion expression
- James, Dewey and Mead's theories of emotions and their revival in the contemporary debate within the cognitive sciences.

Module A

R. Cartesio, Le passioni dell’anima, Bompiani 2003
C. S. Peirce, Alcune conseguenze di quattro incapacità, in Id. Scritti scelti, UTET 2005, pp. 107-143.
R.M. Calcaterra, Emozioni e sensazioni nella semiotica di Ch. S. Peirce, in Ead., Pragmatismo: i valori dell’esperienza. Letture di Peirce, James e Mead, Carocci 2003, pp. 17-41.
R. M. Calcaterra, G. Maddalena, G. Marchetti (a cura di), Il pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci 2015.

Recommended texts:

G. Mori, Cartesio, Carocci 2010
G. Maddalena, Peirce, La Scuola 2015


Modulo B

D. Hume, Trattato sulla natura umana, Laterza 2008, pp. 289-476
G. Baggio, F. Caruana, A. Parravicini, M. Viola (a cura di), Emozioni. Da Darwin al pragmatismo, Rosenberg & Sellier 2019.
F. Caruana, M. Viola, Come funzionano le emozioni, il Mulino 2018.

Recommended texts:

P. Dumouchel, Emozioni. Saggio sul corpo e il sociale, Medusa 2008.
D. Evans, Emozioni. La scienza del sentimento, Laterza 2002
J. Plamper, Storia delle emozioni, il Mulino 2012

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

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

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

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

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

The aim of the class is to give an overview of the more relevant issues of film and media aesthetics. In particular, the class will be focused on both historically relevant perspective and more recent topics and methodologies.
The program will be articulated around two main stages. In the first one, the main approaches to film and media aesthetics will be considered. In the second one, 20th-century film and media aesthetics will be compared with the works of Stanley Kubrick.

1) Francesco Casetti, L'occhio del Novecento. Cinema, esperienza, modernità, Bompiani, Milano 2005 [Eng. tr. Eye of the Century: Film, Experience, Modernity, Columbia University Press, New York 2008]
2) Enrico Carocci (a cura di), Stanley Kubrick, Marsilio, Venezia 2019
3) An anthology of essays, edited by the teacher (paper materials, available at the print shop CLP, Via Giulio Rocco, 9, Rome)

LESSONS

I: 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.

II: 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.

III: 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.

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

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

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

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

VIII: Sound, between shooting, editing and audio mix.

IX: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part I.

X: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part II.

XI: 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.

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

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

There is not a course book.

The course analyses the major processes and principles of contemporary history. It introduces the method of historical research and the use of new sources. Afterwards, the attention will be focused on the history of the Italian Republic.
The first part of the course (6 hours) is devoted to the introduction of the meaning of historical knowledge, the public use of history, the value of social memory and periodizations. The second part of the course (6 hours) outlines the historical changes that lead to the contemporary age: the creation of the nation-state, industrial revolutions, social structure, "globalization". The third part of the course (18 hours) focuses on the history of: the laboratory of contemporary age (1870-1914), the age of catastrophe (1914-1945), the golden age of capitalism (1945- 1968) and the age of transition (1968-1991). The final part of the course (6 hours) will be focused on the history of Italian Republic.

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

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

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

Monographic book. A book to be chosen from:
A. Giovagnoli, "La Repubblica degli italiani (1946-2016)", Roma-Bari, Laterza, 2016, € 24,00

G. Crainz, "Storia della Repubblica", Roma, Donzelli, 2016, € 27,00

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

I TEACHING MODULE (6CFU)
Title: Modern History Institutions
The course will analyze the main meanings that identify the contents of the modern age from the fifteenth century to the first half of the nineteenth century with a preliminary attention to historiographic categories, interpretative orientations, sources and tools specific to the discipline. The training objective is to offer students solid knowledge for acquiring a cognitive and critical familiarity with the "general history" of the modern age.
The lessons will focus mainly on the following topics: Europe and its interrelation with non-European worlds; Crisis and identity of modern Italy; Humanism and the Renaissance; Protestant Reformation and Catholic Counter-Reformation; The ancient regime society: élites and classes; Economic models: the land, work, finance and the market in the modern age; Political systems and their dynamics: empire, monarchies and republics; Family and demography; Literacy and culture; The birth of modern science; Enlightenment and reforms; The first industrial revolution; The American Revolution and the birth of the United States; French Revolution; the Napoleonic Age and the Europe of nations.


II TEACHING MODULE (6CFU)
Title: The age of the Renaissance between Italy and Europe
The course will examine the main historical events that have characterized the history of Italy and of the main European monarchies from the last thirty years of the fifteenth century to the first half of the sixteenth century. The lessons will also address the following topics: the intellectual and conceptual contents of the Renaissance, the discussion on Renaissance interpretations, the chronology and spaces of its diffusion, the use of the "Renaissance" historiographical category through the analysis of authoritative texts and appropriate sources.

I TEACHING MODULE (6CFU)
Exam texts (A+B):
A) A university textbook of modern history, chosen by the student from following list:

1) F. Benigno, L’età moderna. Dalla scoperta dell’America alla Restaurazione, Roma-Bari, Laterza
2) C. Capra, Storia Moderna (1492-1848), Firenze, Le Monnier Università
3) G. Gullino-G. Muto-E.Stumpo, Il Mondo Moderno, Bologna, Monduzzi

B) P. Prodi, La storia moderna, Bologna, Il Mulino

II TEACHING MODULE (6 CFU)

Exam texts (A+B)

A.
1)P. Burke, Il Rinascimento europeo. Centri e periferie, Roma-Bari, Laterza (available in english éd.)
2) M. Pellegrini, Le guerre d’Italia, Bologna, Il Mulino

B. One text chosen by the student from this list:

1) L’uomo del Rinascimento, a cura di E. Garin, Roma-Bari, Laterza,
2) A. Tenenti, L’Italia del Quattrocento. Economia e società, Roma-Bari, Laterza
3) M. Pellegrini, Savonarola. Profezie e martirio nell'età delle guerre d'Italia, Roma, Salerno editrice
4) F. Chabod, Scritti sul Rinascimento, Torino, Einaudi (pp.1-239)
5) J. Burckhardt, La civiltà del Rinascimento in Italia, Firenze, Sansoni
6) E. Bonora, Aspettando l’imperatore. Principi italiani tra il papa e Carlo V, Torino, Einaudi
7) Niccolò Machiavelli, Il principe, Torino, Einaudi, (o Milano,Garzanti)
8) Francesco Guicciardini, Storia d’Italia (1490-1534), 3 voll.(un volume a scelta), Torino, Einaudi, (o Milano, Mondadori)
9) Baldassar Castiglione, Il libro del cortegiano, Milano, Rizzoli

The course analyses the major processes and principles of contemporary history. It introduces the method of historical research and the use of new sources. Afterwards, the attention will be focused on the history of the Italian Republic.
The first part of the course (6 hours) is devoted to the introduction of the meaning of historical knowledge, the public use of history, the value of social memory and periodizations. The second part of the course (6 hours) outlines the historical changes that lead to the contemporary age: the creation of the nation-state, industrial revolutions, social structure, "globalization". The third part of the course (18 hours) focuses on the history of: the laboratory of contemporary age (1870-1914), the age of catastrophe (1914-1945), the golden age of capitalism (1945- 1968) and the age of transition (1968-1991). The final part of the course (6 hours) will be focused on the history of Italian Republic.

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

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

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

Monographic book. A book to be chosen from:
A. Giovagnoli, "La Repubblica degli italiani (1946-2016)", Roma-Bari, Laterza, 2016, € 24,00

G. Crainz, "Storia della Repubblica", Roma, Donzelli, 2016, € 27,00

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

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

The course aims to highlight the convergence, or even the substantial identity, between the two famous Aristotelian definitions of Homo sapiens: "animal that has language" and "political animal". By studying the texts of some important linguists and philosophers of language (E. Benveniste, JL Austin), as well as the major work of Hannah Arendt, Vita activa, we would like to clarify the reasons why verbal language must be considered the biological organ of public practice.
E. BENVENISTE, Problems of general linguistics, Il Saggiatore, Milan 1971, limited to pages 301-347, including the following essays: The nature of pronouns, The subjectivity in language, The analytic philosophy and language. Available in photocopy.

E. BENVENISTE, Problems of general linguistics II, Il Saggiatore, Milan 1987, limited to the following essays: The language and human experience, pp. 83-95; The formal apparatus of the enunciation, pp. 96-106. Available in photocopy.

H. ARENDT, Vita activa, Bompiani (paperback edition, on the market), limited to chapters 1, 2, 5. To be purchased.

Physical nature of sound. Historical background.
Sound waves and their generation.
Sound physical parameters and main instruments for sound measurements.
The human ear and the human perception of sound.
Sound propagation through material media. The speed of propagation.
Sound waves main phenomena: interference and beats; diffraction; reflection and absorption; echo, refraction; resonance.
Musical instruments. The human voice.
Electroacoustic transducers. The synthesis of sound.
Applications in the entertainment field.
Music recordings and reproductions (vinyls, CDs, DVDs, etc.)

Physical nature of light. Historical background. Basics of optics.
Light waves and their generation.
Light physical parameters and main instruments for lighting measurements.
The human eye and the mechanism of vision. Photometry.
Light propagation through material media.
Light waves main phenomena: reflection and refraction, the main optical instruments, optical fibers; light dispersion, colors; interference and diffraction.
Artificial light sources.
Nature of light according to quantum physics. Laser light. Holography.
Applications in the entertainment field. Photography, cinematography, television.

materials provided by the teacher

PAINTING AND SCULPTURE IN ITALY (1400-1520 ca.) (6 CFU)
The knowledge of art and artistic movements in Italy from early Renaissance to Leonardo's death (1519) is the aim of the course. This goal can be achieved analyzing the style of the works of art and their history, patronage, meaning in the society in which they were born. Therefore a visive knowledge of paintings and sculptures is strictly requested.
The course will begin with some general lectures about artistic movements and different approaches to history of art. Students are kindly requested to have taken History of Medieval Art exam before attending the course.
Studying the manual is just the first step of preparing for the exam. The knowledge of the complete work of the most important artists is also requested and therefore students can be helped to get in touch with the whole ouvre of artists by the website (I suggest www.wga.hu). Maestri del Colore or Classici dell’arte Rizzoli can be useful as well. During the course some subjects will be developed therefore students are kindly requested to get the power points or recorded lessons which could be found on Teams / Team "Storia dell'Arte Moderna" / Materiali / Chat.

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

OR
- - S. Settis - T. Montanari, Arte. Una storia naturale e civile. Edizione Blu vol. 2 Dal Quattrocento al Rococò
https://www.mondadorieducation.it/catalogo/arte-una-storia-naturale-e-civile-edizione-blu-0060013/

2) READING ONE OF THE FOLLOWING TEXTS IS REQUESTED:

- J. SHEARMAN, ARTE E SPETTATORE NEL RINASCIMENTO ITALIANO. “ONLY CONNECT”, ED.ORIGINALE 1992, ED.IT. MILANO,
JACA BOOK, 1995
- M. BAXANDALL, PITTURA ED ESPERIENZE SOCIALI NELL’ITALIA DEL QUATTROCENTO, TORINO, EINAUDI, 1978
- A. PINELLI, LA BELLA MANIERA. ARTISTI DEL CINQUECENTO TRA REGOLA E LICENZA, TORINO, EINAUDI , 2003
- E. PANOFSKY, STUDI DI ICONOLOGIA. I TEMI UMANISTICI NELL’ARTE DEL RINASCIMENTO, ED. ORIGINALE, 1939, ED.IT.
TORINO, EINAUDI, 1999 (DAL CAPITOLO SECONDO AL CAPITOLO SESTO COMPRESI)
- F. ZERI, DIETRO L’IMMAGINE. CONVERSAZIONI SULL’ARTE DI LEGGERE L’ARTE, MILANO, TEA, 1990 (ESISTE ANCHE
UN’EDIZIONE VICENZA, NERI POZZA, 1998)
- A. BALLARIN, GIORGIONE E LA COMPAGNIA DEGLI AMICI: IL "DOPPIO RITRATTO" LUDOVISI, IN STORIA DELL''ARTE ITALIANA.
PARTE II, VOL. 1. DAL MEDIOEVO AL QUATTROCENTO, TORINO, EINAUDI, 1983, PP.481-541.
- F. ZERI, PITTURA E COTRORIFORMA. L’ARTE SENZA TEMPO DI SCIPIONE DA GAETA, ED. ORIGINALE, EINAUDI 1957, ED. PIÙ RECENTE POZZA 1997.
- F. HASKELL, MECENATI E PITTORI. STUDIO SUI RAPPORTI TRA ARTE E SOCIETÀ ITALIANA NELL’ETÀ BAROCCA, SANSONI, ED. ORIGINALE 1966 (ESISTONO EDIZIONI SUCCESSIVE).
- G. BRIGANTI, PIETRO DA CORTONA O DELLA PITTURA BAROCCA, IN ROMA 1630: IL TRIONFO DEL PENNELLO, CATALOGO DELLA MOSTRA (ROMA), A CURA DI O. BONFAIT, MILANO 1994, PP. 23-52.
- I. LAVIN, VISIBLE SPIRIT: THE ART OF GIAN LORENZO BERNINI, LONDON 2009.
- F. HASKELL – N. PENNY, L’ANTICO NELLA STORIA DEL GUSTO: LA SEDUZIONE DELLA SCULTURA CLASSICA 1500-1900, TORINO 1984.

Physical nature of sound. Historical background.
Sound waves and their generation.
Sound physical parameters and main instruments for sound measurements.
The human ear and the human perception of sound.
Sound propagation through material media. The speed of propagation.
Sound waves main phenomena: interference and beats; diffraction; reflection and absorption; echo, refraction; resonance.
Musical instruments. The human voice.
Electroacoustic transducers. The synthesis of sound.
Applications in the entertainment field.
Music recordings and reproductions (vinyls, CDs, DVDs, etc.)

Physical nature of light. Historical background. Basics of optics.
Light waves and their generation.
Light physical parameters and main instruments for lighting measurements.
The human eye and the mechanism of vision. Photometry.
Light propagation through material media.
Light waves main phenomena: reflection and refraction, the main optical instruments, optical fibers; light dispersion, colors; interference and diffraction.
Artificial light sources.
Nature of light according to quantum physics. Laser light. Holography.
Applications in the entertainment field. Photography, cinematography, television.

materials provided by the teacher

The course will be structured in two distinct parts: a first part will address the history of documentary cinema from its origins to the contemporary, through the study of movements, currents, authors and trends.The second part focuses on the theme of the representation of the Shoah in Italian and international documentary cinema from the 1950s to the present day, highlighting aesthetic structures, thematic approaches and rhetorical recurrences.
The course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.

Bibliography:
Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Michele Guerra, Il limite dello sguardo. Oltre i confini delle immagini, Raffaello Cortina Editore, Milano, 2020
Ivelise Perniola, L'immagine spezzata. Il cinema di Claude Lanzmann, Kaplan, Torino, 2007

Filmography:

R.Flaherty, Nanook of the North (1922)
A.A.V.V.-Amore in città (1953)
V. De Seta, Lu tempu de li pisci spata (1954)
V. De Seta, I dimenticati (1959)
C. Mangini, Stendalì (1959)
V. De Seta, Diario di un maestro, puntata 1 (1973)
A.Marazzi, Un'ora sola ti vorrei (2002)

R.Marcellini, Israele a Roma (1948)
A. Resnais, Nuit et bruillard (1955)
P.Nelli, Mauthausen Mahnt (1960)
A. Giannarelli, Roma 16 ottobre 1943 (1960)
A. Giannarelli, Memoria presente: ebrei e città durante l'occupazione nazista (1984)
C. Lanzmann, Sobibor, 14 octobre 1943, h.16 (2001)
D.Picciau, Binario 21 (2004)
D. Ferrario, La strada di Levi (2006)
D.Monte, Memorie-In viaggio verso Auschwitz (2014)

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

- Catricalà Valentino, «Prospettive delle arti nel XXI secolo. Storie, teorie, preservazione», Mimesis, 2016
- Gatti Giuseppe, “Dispositivi del Sé” in «Dispositivo. Un’archeologia della mente e dei media», Roma TrE-Press, 2019.
- Schechner Richard, «Introduzione ai performance studies», Cue Press, Imola, 2018.
- Parikka Jussi, «What is Media Archeology?», Polity Press, 2012.

NEOREALIST CINEMA. THE FILMS OF FEDERICO FELLINI.
The first part is dedicated to the most emblematic theories, films, authors, figures and styles of post-war cinema. The major works of Roberto Rossellini, Vittorio De Sica, Luchino Visconti, Giuseppe De Santis, Pietro Germi are analyzed. Particular emphasis is given to the thought and practices of Cesare Zavattini. The second part is devoted to the films of Federico Fellini. Comparing with the vast existing bibliography and with the most diverse study methodologies, we analyze the dominant themes of the Fellini imaginary and the style of the films. Particular attention is paid to Fellini's reflection on cinema (from 8 ½ to Intervista), on entertainment and on the media (the humorous press, the photo novel, the vaudeville, the circus, television, advertising).

TEXTS: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (in particular chapter III, pp. 127-204); Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; F. Fellini, Fare un film, Einaudi, Torino 2006 (I ed. 1980); Jean-Paul Manganaro, Federico Fellini. Romance, Il Saggiatore, Milano 2014; a compilation of texts on neorealism by the teacher (you can find it at the beginning of the course at the fotocopisteria in Via G. Rocco, n. 11). Non-attending students must also read P. Bondanella, Il cinema di Federico Fellini, Guaraldi, Parma 1994 (available also in ebook).

FILMOGRAPHY:
NEOREALISM: Ossessione (1943) by L. Visconti; Paisà (1946) by R. Rossellini; Germania anno zero (1948) by R. Rossellini; Ladri di biciclette (1948) by V. De Sica; La terra trema (1948) by L. Visconti; Riso amaro (1949) by G. De Santis; Miracolo a Milano (1950) di 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; Il grido (1957) by M. Antonioni.
FEDERICO FELLINI: Lo sceicco bianco (1952), La strada (1954), Le notti di Cabiria (1957), La dolce vita (1960), 8 1/2 (1963), Toby Dammit (1968, sketch from Tre passi nel delirio), I clowns (1970), Roma (1972), Amarcord (1973), Il Casanova di Federico Fellini (1976), Ginger e Fred (1985), Intervista (1987).
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.

For Erasmus students:

G.P. Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (dal cap. III in poi);
C. Uva, L'ultima spiaggia. Rive e derive del cinema italiano, Marsilio, Venezia 2021;

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

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

Foth common part:
Agenda 2030; E-learning materials and handout provided by Asvis; further readings recommended by the panel speakers.

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

Study meetings and laboratory meetings dedicated to specific areas of puppet theatre framed by scholars, artists and teachers both from an historiographical point of view and from the scenic practice's perspective. “Marionettes, puppets, shadows and dummies between East and West”: these are the topics of the meetings of this course, meetings with scholars and, above all, with the masters of these theatrical traditions.
The objective is to analyse the “living” puppet theatre, its expressive possibilities and, at the same time, the great traditions included in it, that today live renewing themselves. So, traditions and crafts, but also history and modernity of a living theatre. Material theatre and, at the same time, theatre of history and memory.

ATTENDING STUDENTS (to be considered attending the student can not make more than 2 absences)
1) Alfonso Cipolla, Giovanni Moretti, "Storia dei burattini e delle marionette in Italia", Corazzano, Titivillus, 2020
2) Texts and/or materials to AGREE WITH THE TEACHER during the lessons (it will be possible to diversify the study topics by choosing among the topics covered in the lesson)

NON ATTENDING STUDENTS
1) Alfonso Cipolla, Giovanni Moretti, "Storia dei burattini e delle marionette in Italia", Corazzano, Titivillus, 2020
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) Giorgio Agamben, "Pulcinella ovvero Divertimento per li regazzi", Roma, ed. nottetempo, edizione aggiornata del 2016
4) Materials edited by the teacher (to be downloaded from the download area of the teacher site).

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

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:
Cibo, a cura di Ester Fano, Nora McKeon e Giancarlo Monina, “Parolechiave”, 58, dicembre 2017, 240 p., € 22,00.
Massimo Montanari, Il cibo come cultura, Roma-Bari, Laterza, 2017, 186 p., € 10,00
Essays of your choice (minimum 3) from Storia d’Italia, Annali 13, L’alimentazione, Torino, Einaudi, 1998 (in the library)

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

None. It is essentially a practical workshop.

Screening of seven short films, documentaries and fiction (the works present a free passage of genre, from the narrative of the pandemic, in its hardest moment, that of the lock down, experienced by young filmmakers locked up at home and the story of their lives, sometimes staging themselves with wisdom and measure).

These are mature and well done works. The young people worked in teams of three: producer, screenwriter and director (they are absolute beginnings).

The first quality of the work is the ability to work as a team, another indispensable virtue and for most of the seven films it was realized, for others less, to the detriment of the result.

The sense of the team will be one of the topics of the course; in filmmaking there is no room for those who do not know how to delegate, it is important to rely on the collaboration of many people and to love the chosen actors.

The choice of these seven small films was designed in order to not ignore the dramatic moment that young people and everyone are forced to experience.

The stages of creation and writing of the screenplays, these are seven completed stories.

The preparation phase: the house, the right rooms, the furniture and objects (a fly buzzing solitary against the glass of a window from which you can see the glimpse of a deserted city). The decision of the filmmakers, created by necessity, to stage themselves, their life, their nostalgia, pain, loneliness.

How to make a working plan, how to establish the shooting methods, how to decide the time of the shooting, how much to work if it happens. For some who lived with their families during the lock down, the involvement of family members who become real actors with a precise role.

Shooting: for the works shown, shooting was a crucial phase, during which the authors clashed with the objective difficulty of the enclosure and the limit of their narrative field but this determined the development of many alternative ideas to the program established. Cinema is also the art of getting by, of finding bizarre solutions and experimenting them with courage.

Editing and post-production: even editing was a highly formative experience. Some films were better in the first stage of editing and worse when editing took too long. Here, too, one must have the quality of letting go parts of one's work without becoming too attached to it. It is a very useful exercise in cruelty.

I will ask the students to create a collective work, possibly shot with their cell phones and edited with their computers. To write it together with others and develop it as a team. I wish they would put in scene their desire for the end of the pandemic, how do they imagine it, what do they dream, what do they ask of life afterwards? I understand that it seems like a bold undertaking but a dream can be told in an image.

Suggested books: Il cinema secondo Hitchock di Francois Truffaut (Feltrinelli) e Il cinema secondo Orson Welles di Peter Bogdanovich (Il saggiatore)

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, Nietsche, Haidegger, 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 Theater if the health conditions allow it.

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

Practical seminar coordinated by Mirella Schino and Samantha Marenzi in collaboration with an artist.

There are no adopted texts

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

PERFORMING ARTS LABORATORY 3
Academic Year 2020-21 II Semester
Teacher: Mara Camelin

Program

The work on one's own body leads to the knowledge of oneself, of space and of others; daily use
of gestures, expressions, movements without a "listening" of the body let the vital rhythm be
ignored which is in the breath, in the heart, in the "perception" of one's own structure. When
you communicate through movement, those inner energies are activated, that emotional
universe, imaginary, which through the body relate to the world.
The laboratory proposes the study of the basic principles of movement such as alignment of the
body, breathing, energy, contact, field of vision, rhythm, with the aim of allowing students to
achieve the elaboration of a comparative analysis, knowing and experimenting with fundamental
elements of techniques and practices related to:

● contemporary dance, with particular reference to Lìmon techniques, a fluid technique where
the search for the principle of balance is constant and it’s fundamental the concept of impulse,
Contact-improvisation and Floor-work which through the study of weight, contact and energy
explore the relationship between body and space, individual and in relation to others;

● the research on movement developed by the European avant-garde theater (Biomechanics,
Grotowski, Odin Theater) which explores the organic nature of movement;

● the ancient traditional oriental arts of Tai Ji Quan and Qi Gong whose fulcrum is represented
by the study of posture, breathing, concentration and proprioception.

Practical part
a) Warm-up on the floor - breathing exercises and proprioception; the different levels of the
structure: osteo-articular, muscular, internal organs; ground alignment, muscle and joint
loosening exercises; contraction and expansion of movement in harmony with breathing; center
and periphery of the body: engine of movement in the exploration of space; the relationship
with the other: balance, weight and dynamics. Plastic exercises: experimentation of the
possibilities of movement of the single parts of the body and their interaction and relationship;

b) In space - plastic exercises in an upright position: experimentation of the possibilities of
movement of the individual parts of the body and their interaction and relationship; paths in
space: rhythm, field of view, levels, quality of energy. The relationship with the other: physical
contact, eye contact, sound contact.
c) Center: alignment exercises, center of gravity awareness, pivot and off-axis concept,
directions of movement, rotation and spiral, weight work, dynamics and quality of energy and
sequences in space (referring to the different techniques).

d) Individual and collective assembly or composition: realization of a sequence of movements
as an elaboration of the experimented techniques, starting from a perception, sensation or an
internal stimulus (listening to the internal rhythm of the heart and breath, emotion, desire or
will), working on variety, alternation and contrast with respect to every
stimulus and association, on the rhythm and quality of energy.
In carrying out the workshop, as regards the warm-up phase, the synergy criterion will be used,
that is, exercises belonging to the different techniques that integrate and harmoniously flow into
the work of listening, perception and preparation of the body for movement will be proposed.
Instead, to allow students to develop a comparison and discovery of points of contact between
the different techniques and practices, they will be dedicated, with reference to section c) more
consecutive matches for each technique.
The body-mind relationship is of fundamental importance in this work, meaning by this a
dimension of interaction between the physiological sphere, the emotional sphere and the logical
one, capable of activating those inner energies that are able to express our body.

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? 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.

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

2 Il Valore del Tempo/ The Value of Time

3 Gli Impatti Macroeconomici/ The Macroeconomic Impacts

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

5 La filiera Cinematografica/ The Cinematographic supply chain

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

7 La Distribuzione/ The distribution

8 L’esercizio cinematografico/ The theatrical

9 La catena del valore/ The value chain

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

11 Il Marketing del film/ The Marketing of the film

12 Cinema e Big Data/ Cinema and Big Data

The adopted text is:
Economy, Management and Finance of the Film and Audiovisual Company: from concept to set too big data, from cinema to web, from the audience to audience
The text can be downloaded from the main online platforms: Street lib, Amazon, IBS, etc.

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

- S. Lischi, "La lezione della videoarte", Carocci, Roma 2019;
- M.M. Gazzano, "Ultraimmagini. Verso la producibilità elettronica del cinema, attraverso le metamorfosi delle arti", Exorma, Roma 2020.

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

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

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

The course is intended as an introduction to anthropology as cultural critique, specifically aimed at forming a figure of anthropologist regarded as “intellectual” capable of analysing, interpreting and comparing different cultural cases and systems.
The objectives of the course are:
– to develop in the student an awareness of “otherness”;
– to critically examines ideas about cultural differences and images of “otherness”;
– to develop in the student a capacity to recognize preconceptions and assumptions of their own social and cultural environments;
The students will be introduced to the major concepts, theories and methods employed by anthropologists to understand social and cultural aspects of human experience, with a particular attention to specifical mechanisms of human relationships and social systems.
They will be also familiarised with fieldwork practice and ethnographic research, so as to form a skilled and qualified personnel, sensitive to the complexities of nowadays.
On completing the course, the students should be able to apply the concepts and perspectives learned in the course of the lessons to new, original research fields and broader contexts, making interdisciplinary connections.
Acquiring the knowledge of the fundamentals of ethno-anthropology, at the end of the course the students should be able to deal independently with anthropological topics and issues.
Besides knowledge and understanding of key terms, concepts and methods in ethnology and anthropology, at the end of the course students will be expected to demonstrate the capacity to express, present and explain with the necessary clarity their knowledge.
The systematic self-reflection peculiar to the anthropological approach, its critical self-conscious thinking not only about the “objects” of its research but also about the tools used to describe and interpret them, is expected to favour the develop in the student of important learning skills such as creative and critical thinking, which will be decisive throughout their formative years and beyond.
The course aims at providing the students with the fundamentals of anthropology, updated and adjusted to the urgencies of modernity and current affairs.

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

2. The monographic part includes:
Tim Ingold, Antropologia. Ripensare il mondo, Milano, Meltemi, 2020.
Stefano de Matteis, Le false libertà. Verso la post globalizzazione, Milano, Meltemi 2017.

Passions and Emotions
The course focuses on the topic of emotions from a historical-theoretical perspective. More specifically, the transition from a philosophy of passions to a science of emotions is explored by analysing some texts of the philosophical and scientific literature on the subject.

Module A - Passions and emotions: Descartes and Peirce
The program of Module A will focus on the following topics:
- Introduction to the historical-theoretical meanings of the notions of passion and emotion
- Cartesian theory of passions
- Ch. S. Peirce's anti-Cartesianism.

Module B - Passions and emotions: Hume, pragmatism, and the social theory of emotions.
The program of Module B will focus on the following topics:
- The Humean treatment of passions.
- Introduction to the birth of a science of emotions: Darwin's evolutionism and his theory of emotion expression
- James, Dewey and Mead's theories of emotions and their revival in the contemporary debate within the cognitive sciences.

Module A

R. Cartesio, Le passioni dell’anima, Bompiani 2003
C. S. Peirce, Alcune conseguenze di quattro incapacità, in Id. Scritti scelti, UTET 2005, pp. 107-143.
R.M. Calcaterra, Emozioni e sensazioni nella semiotica di Ch. S. Peirce, in Ead., Pragmatismo: i valori dell’esperienza. Letture di Peirce, James e Mead, Carocci 2003, pp. 17-41.
R. M. Calcaterra, G. Maddalena, G. Marchetti (a cura di), Il pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci 2015.

Recommended texts:

G. Mori, Cartesio, Carocci 2010
G. Maddalena, Peirce, La Scuola 2015


Modulo B

D. Hume, Trattato sulla natura umana, Laterza 2008, pp. 289-476
G. Baggio, F. Caruana, A. Parravicini, M. Viola (a cura di), Emozioni. Da Darwin al pragmatismo, Rosenberg & Sellier 2019.
F. Caruana, M. Viola, Come funzionano le emozioni, il Mulino 2018.

Recommended texts:

P. Dumouchel, Emozioni. Saggio sul corpo e il sociale, Medusa 2008.
D. Evans, Emozioni. La scienza del sentimento, Laterza 2002
J. Plamper, Storia delle emozioni, il Mulino 2012

The course is intended as an introduction to anthropology as cultural critique, specifically aimed at forming a figure of anthropologist regarded as “intellectual” capable of analysing, interpreting and comparing different cultural cases and systems.
The objectives of the course are:
– to develop in the student an awareness of “otherness”;
– to critically examines ideas about cultural differences and images of “otherness”;
– to develop in the student a capacity to recognize preconceptions and assumptions of their own social and cultural environments;
The students will be introduced to the major concepts, theories and methods employed by anthropologists to understand social and cultural aspects of human experience, with a particular attention to specifical mechanisms of human relationships and social systems.
They will be also familiarised with fieldwork practice and ethnographic research, so as to form a skilled and qualified personnel, sensitive to the complexities of nowadays.
On completing the course, the students should be able to apply the concepts and perspectives learned in the course of the lessons to new, original research fields and broader contexts, making interdisciplinary connections.
Acquiring the knowledge of the fundamentals of ethno-anthropology, at the end of the course the students should be able to deal independently with anthropological topics and issues.
Besides knowledge and understanding of key terms, concepts and methods in ethnology and anthropology, at the end of the course students will be expected to demonstrate the capacity to express, present and explain with the necessary clarity their knowledge.
The systematic self-reflection peculiar to the anthropological approach, its critical self-conscious thinking not only about the “objects” of its research but also about the tools used to describe and interpret them, is expected to favour the develop in the student of important learning skills such as creative and critical thinking, which will be decisive throughout their formative years and beyond.
The course aims at providing the students with the fundamentals of anthropology, updated and adjusted to the urgencies of modernity and current affairs.

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

2. The monographic part includes:
Tim Ingold, Antropologia. Ripensare il mondo, Milano, Meltemi, 2020.
Stefano de Matteis, Le false libertà. Verso la post globalizzazione, Milano, Meltemi 2017.

Theoric contextualisation of photographic experience in the chronologies and histories of art, in relation to Cinema, Television, Sound and Arts histories: focus on the Italian case.

- Italo Zannier, "L'occhio della fotografia. Protagonisti, tecniche e stili", Carocci, Roma 2019 (nuova edizione);
- Sandra Lischi, "La lezione della videoarte", Carocci, Roma 2019.

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

PROGRAM: The stories and practices of the actors will be analyzed and experimented through of the actor’s creative processes. The course focuses on the character’s construction, the composition of physical and vocal actions, the relationship between text and stage.

Lecture notes edited by the teacher, (available at the beginning of the course on the site https://sites.google.com/com/site/stefanogeraci1); V.Mejercol’d, L’attore biomeccanico, a.c. di F. Malcovati, Milano, Ubulibri, 1993 e succ. ed;R. Ciancarelli, Il dominio del movimento, Dino Audino Editore, 2020.

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

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

Passions and Emotions
The course focuses on the topic of emotions from a historical-theoretical perspective. More specifically, the transition from a philosophy of passions to a science of emotions is explored by analysing some texts of the philosophical and scientific literature on the subject.

Module A - Passions and emotions: Descartes and Peirce
The program of Module A will focus on the following topics:
- Introduction to the historical-theoretical meanings of the notions of passion and emotion
- Cartesian theory of passions
- Ch. S. Peirce's anti-Cartesianism.

Module B - Passions and emotions: Hume, pragmatism, and the social theory of emotions.
The program of Module B will focus on the following topics:
- The Humean treatment of passions.
- Introduction to the birth of a science of emotions: Darwin's evolutionism and his theory of emotion expression
- James, Dewey and Mead's theories of emotions and their revival in the contemporary debate within the cognitive sciences.

Module A

R. Cartesio, Le passioni dell’anima, Bompiani 2003
C. S. Peirce, Alcune conseguenze di quattro incapacità, in Id. Scritti scelti, UTET 2005, pp. 107-143.
R.M. Calcaterra, Emozioni e sensazioni nella semiotica di Ch. S. Peirce, in Ead., Pragmatismo: i valori dell’esperienza. Letture di Peirce, James e Mead, Carocci 2003, pp. 17-41.
R. M. Calcaterra, G. Maddalena, G. Marchetti (a cura di), Il pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci 2015.

Recommended texts:

G. Mori, Cartesio, Carocci 2010
G. Maddalena, Peirce, La Scuola 2015


Modulo B

D. Hume, Trattato sulla natura umana, Laterza 2008, pp. 289-476
G. Baggio, F. Caruana, A. Parravicini, M. Viola (a cura di), Emozioni. Da Darwin al pragmatismo, Rosenberg & Sellier 2019.
F. Caruana, M. Viola, Come funzionano le emozioni, il Mulino 2018.

Recommended texts:

P. Dumouchel, Emozioni. Saggio sul corpo e il sociale, Medusa 2008.
D. Evans, Emozioni. La scienza del sentimento, Laterza 2002
J. Plamper, Storia delle emozioni, il Mulino 2012

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

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

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

- S. Lischi, "La lezione della videoarte", Carocci, Roma 2019;
- M.M. Gazzano, "Ultraimmagini. Verso la producibilità elettronica del cinema, attraverso le metamorfosi delle arti", Exorma, Roma 2020.

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

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

2 Il Valore del Tempo/ The Value of Time

3 Gli Impatti Macroeconomici/ The Macroeconomic Impacts

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

5 La filiera Cinematografica/ The Cinematographic supply chain

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

7 La Distribuzione/ The distribution

8 L’esercizio cinematografico/ The theatrical

9 La catena del valore/ The value chain

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

11 Il Marketing del film/ The Marketing of the film

12 Cinema e Big Data/ Cinema and Big Data

The adopted text is:
Economy, Management and Finance of the Film and Audiovisual Company: from concept to set too big data, from cinema to web, from the audience to audience
The text can be downloaded from the main online platforms: Street lib, Amazon, IBS, etc.

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? 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.

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

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

Collection of essays.

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

The course deals with a critical analysis of gender representations in the media. The first part gives an overview on the concept of gender and the role of media in the social construction of male and female identities. The course aims to provide students with the methodological tools to analyse communication practices in various media (whether digital or not) from a gendered perspective. The second part is dedicated to lab activities. The research lab includes working in groups and will involve students in the design of research paths on specific topics.

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

LESSONS

I: 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.

II: 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.

III: 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.

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

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

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

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

VIII: Sound, between shooting, editing and audio mix.

IX: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part I.

X: Starting from the subjects proposed by the students, collective workshop on the authors' narrative, stylistic and technical project and analysis of the shots taken. Part II.

XI: 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.

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

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

There is not a course book.

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

- Catricalà Valentino, «Prospettive delle arti nel XXI secolo. Storie, teorie, preservazione», Mimesis, 2016
- Gatti Giuseppe, “Dispositivi del Sé” in «Dispositivo. Un’archeologia della mente e dei media», Roma TrE-Press, 2019.
- Schechner Richard, «Introduzione ai performance studies», Cue Press, Imola, 2018.
- Parikka Jussi, «What is Media Archeology?», Polity Press, 2012.

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

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

La sceneggiatura. Un testo dall'esistenza incerta
di Daniela Ceselli ( Le Lettere)
Lingua: Italiano
ISBN-10: 8860875765ISBN-13: 9788860875761Data di pubblicazione: 01/01/2012

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

2020/2021 topic: "The voice and the image"

The class includes a brief historical excursus of film who represented reality through a poetic dialogue between voice and images.
Afterwards there will be a selection of subjects proposed by the students, special attention will be given to subjects which use these two elements, voice and image, as central in the story in both narrative and stylistic way.
The selected subjects will be realized in individual or group works.
No limit of duration and setting. No use of music.

Maximum number of class participants: 30 people.

Mandatory attendance. Are admitted, excluding motivated causes, no more than two absences.

Recommended books:

- Marco Bertozzi. "Documentary as art. Reuse, performance, autobiography in the experience of contemporary cinema". Marsilio, 2018.
- Mario Balsamo, Gianfranco Pannone. "The workshop of reality. Making a documentary: from project to film". Editions CdG - Journalistic Documentation Center, 2010.

Recommended books:

- Marco Bertozzi. "Documentary as art. Reuse, performance, autobiography in the experience of contemporary cinema". Marsilio, 2018.
- Mario Balsamo, Gianfranco Pannone. "The workshop of reality. Making a documentary: from project to film". Editions CdG - Journalistic Documentation Center, 2010.

The workshop will focus this year on podcasts and audio-productions on demand. Starting from the history of the audio-documentary in Italy and through multiple listenings, we will analyze forms, techniques and languages of audio productions . Particular attention will be reserved to podcast productions around the world. Through a series of practical lessons, the workshop will also invite students to create their own podcast project.

Workshop does not foresee the adoption fo any text

The workshop is divided into two parts: 15 hours address the introduction to the screenplay, its languages, and its narrative modes, with attention to narrative genres, worldbuilding, and storytelling; 15 hours will focus on writing practices, addressing them through writing exercises. The second part focuses specifically on issues such as the passage from the story to the screenplay; the novelization and the relationship with film writing; the relationship between the plot and the script; the opening scenes and the first act; the production of the character, from its subtext to the dialogue; film analysis and opening models; the distinction between iconic and abstract language; film time and film movement.

Bibliographic suggestions and references will be given during classes.

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 reference bibliography will be indicated 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.

Italian literature and photography

a) Andrea Zanzotto, Tutte le poesie, edited by Stefano Dal Bianco, Milano, «Oscar» Mondadori, 2011

b) Andrea Zanzotto, Luoghi e paesaggi, edited by Matteo Giancotti, Milano, Bompiani, 2013

c) Andrea Cortellessa, Andrea Zanzotto, il canto della terra, forthcoming

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

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 be structured in two distinct parts: a first part will address the history of documentary cinema from its origins to the contemporary, through the study of movements, currents, authors and trends.The second part focuses on the theme of the representation of the Shoah in Italian and international documentary cinema from the 1950s to the present day, highlighting aesthetic structures, thematic approaches and rhetorical recurrences.
The course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.

Bibliography:
Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Michele Guerra, Il limite dello sguardo. Oltre i confini delle immagini, Raffaello Cortina Editore, Milano, 2020
Ivelise Perniola, L'immagine spezzata. Il cinema di Claude Lanzmann, Kaplan, Torino, 2007

Filmography:

R.Flaherty, Nanook of the North (1922)
A.A.V.V.-Amore in città (1953)
V. De Seta, Lu tempu de li pisci spata (1954)
V. De Seta, I dimenticati (1959)
C. Mangini, Stendalì (1959)
V. De Seta, Diario di un maestro, puntata 1 (1973)
A.Marazzi, Un'ora sola ti vorrei (2002)

R.Marcellini, Israele a Roma (1948)
A. Resnais, Nuit et bruillard (1955)
P.Nelli, Mauthausen Mahnt (1960)
A. Giannarelli, Roma 16 ottobre 1943 (1960)
A. Giannarelli, Memoria presente: ebrei e città durante l'occupazione nazista (1984)
C. Lanzmann, Sobibor, 14 octobre 1943, h.16 (2001)
D.Picciau, Binario 21 (2004)
D. Ferrario, La strada di Levi (2006)
D.Monte, Memorie-In viaggio verso Auschwitz (2014)

Physical nature of sound. Historical background.
Sound waves and their generation.
Sound physical parameters and main instruments for sound measurements.
The human ear and the human perception of sound.
Sound propagation through material media. The speed of propagation.
Sound waves main phenomena: interference and beats; diffraction; reflection and absorption; echo, refraction; resonance.
Musical instruments. The human voice.
Electroacoustic transducers. The synthesis of sound.
Applications in the entertainment field.
Music recordings and reproductions (vinyls, CDs, DVDs, etc.)

Physical nature of light. Historical background. Basics of optics.
Light waves and their generation.
Light physical parameters and main instruments for lighting measurements.
The human eye and the mechanism of vision. Photometry.
Light propagation through material media.
Light waves main phenomena: reflection and refraction, the main optical instruments, optical fibers; light dispersion, colors; interference and diffraction.
Artificial light sources.
Nature of light according to quantum physics. Laser light. Holography.
Applications in the entertainment field. Photography, cinematography, television.

materials provided by the teacher

The course develops methodological skills in order to undertake research in the field of communication studies. 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.

W. Griswold, 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 2009, pp. 253-285
G. Gobo, Descrivere il mondo. Teoria e pratica del metodo etnografico in sociologia, Carocci, Roma 2001

2020/2021 topic: "The voice and the image"

The class includes a brief historical excursus of film who represented reality through a poetic dialogue between voice and images.
Afterwards there will be a selection of subjects proposed by the students, special attention will be given to subjects which use these two elements, voice and image, as central in the story in both narrative and stylistic way.
The selected subjects will be realized in individual or group works.
No limit of duration and setting. No use of music.

Maximum number of class participants: 30 people.

Mandatory attendance. Are admitted, excluding motivated causes, no more than two absences.

Recommended books:

- Marco Bertozzi. "Documentary as art. Reuse, performance, autobiography in the experience of contemporary cinema". Marsilio, 2018.
- Mario Balsamo, Gianfranco Pannone. "The workshop of reality. Making a documentary: from project to film". Editions CdG - Journalistic Documentation Center, 2010.

Recommended books:

- Marco Bertozzi. "Documentary as art. Reuse, performance, autobiography in the experience of contemporary cinema". Marsilio, 2018.
- Mario Balsamo, Gianfranco Pannone. "The workshop of reality. Making a documentary: from project to film". Editions CdG - Journalistic Documentation Center, 2010.

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

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

La sceneggiatura. Un testo dall'esistenza incerta
di Daniela Ceselli ( Le Lettere)
Lingua: Italiano
ISBN-10: 8860875765ISBN-13: 9788860875761Data di pubblicazione: 01/01/2012

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

The course will be structured in two distinct parts: a first part will address the history of documentary cinema from its origins to the contemporary, through the study of movements, currents, authors and trends.The second part focuses on the theme of the representation of the Shoah in Italian and international documentary cinema from the 1950s to the present day, highlighting aesthetic structures, thematic approaches and rhetorical recurrences.
The course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.

Bibliography:
Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Michele Guerra, Il limite dello sguardo. Oltre i confini delle immagini, Raffaello Cortina Editore, Milano, 2020
Ivelise Perniola, L'immagine spezzata. Il cinema di Claude Lanzmann, Kaplan, Torino, 2007

Filmography:

R.Flaherty, Nanook of the North (1922)
A.A.V.V.-Amore in città (1953)
V. De Seta, Lu tempu de li pisci spata (1954)
V. De Seta, I dimenticati (1959)
C. Mangini, Stendalì (1959)
V. De Seta, Diario di un maestro, puntata 1 (1973)
A.Marazzi, Un'ora sola ti vorrei (2002)

R.Marcellini, Israele a Roma (1948)
A. Resnais, Nuit et bruillard (1955)
P.Nelli, Mauthausen Mahnt (1960)
A. Giannarelli, Roma 16 ottobre 1943 (1960)
A. Giannarelli, Memoria presente: ebrei e città durante l'occupazione nazista (1984)
C. Lanzmann, Sobibor, 14 octobre 1943, h.16 (2001)
D.Picciau, Binario 21 (2004)
D. Ferrario, La strada di Levi (2006)
D.Monte, Memorie-In viaggio verso Auschwitz (2014)

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.

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, Nietsche, Haidegger, 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 Theater if the health conditions allow it.

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

Practical seminar coordinated by Mirella Schino and Samantha Marenzi in collaboration with an artist.

There are no adopted texts

PERFORMING ARTS LABORATORY 3
Academic Year 2020-21 II Semester
Teacher: Mara Camelin

Program

The work on one's own body leads to the knowledge of oneself, of space and of others; daily use
of gestures, expressions, movements without a "listening" of the body let the vital rhythm be
ignored which is in the breath, in the heart, in the "perception" of one's own structure. When
you communicate through movement, those inner energies are activated, that emotional
universe, imaginary, which through the body relate to the world.
The laboratory proposes the study of the basic principles of movement such as alignment of the
body, breathing, energy, contact, field of vision, rhythm, with the aim of allowing students to
achieve the elaboration of a comparative analysis, knowing and experimenting with fundamental
elements of techniques and practices related to:

● contemporary dance, with particular reference to Lìmon techniques, a fluid technique where
the search for the principle of balance is constant and it’s fundamental the concept of impulse,
Contact-improvisation and Floor-work which through the study of weight, contact and energy
explore the relationship between body and space, individual and in relation to others;

● the research on movement developed by the European avant-garde theater (Biomechanics,
Grotowski, Odin Theater) which explores the organic nature of movement;

● the ancient traditional oriental arts of Tai Ji Quan and Qi Gong whose fulcrum is represented
by the study of posture, breathing, concentration and proprioception.

Practical part
a) Warm-up on the floor - breathing exercises and proprioception; the different levels of the
structure: osteo-articular, muscular, internal organs; ground alignment, muscle and joint
loosening exercises; contraction and expansion of movement in harmony with breathing; center
and periphery of the body: engine of movement in the exploration of space; the relationship
with the other: balance, weight and dynamics. Plastic exercises: experimentation of the
possibilities of movement of the single parts of the body and their interaction and relationship;

b) In space - plastic exercises in an upright position: experimentation of the possibilities of
movement of the individual parts of the body and their interaction and relationship; paths in
space: rhythm, field of view, levels, quality of energy. The relationship with the other: physical
contact, eye contact, sound contact.
c) Center: alignment exercises, center of gravity awareness, pivot and off-axis concept,
directions of movement, rotation and spiral, weight work, dynamics and quality of energy and
sequences in space (referring to the different techniques).

d) Individual and collective assembly or composition: realization of a sequence of movements
as an elaboration of the experimented techniques, starting from a perception, sensation or an
internal stimulus (listening to the internal rhythm of the heart and breath, emotion, desire or
will), working on variety, alternation and contrast with respect to every
stimulus and association, on the rhythm and quality of energy.
In carrying out the workshop, as regards the warm-up phase, the synergy criterion will be used,
that is, exercises belonging to the different techniques that integrate and harmoniously flow into
the work of listening, perception and preparation of the body for movement will be proposed.
Instead, to allow students to develop a comparison and discovery of points of contact between
the different techniques and practices, they will be dedicated, with reference to section c) more
consecutive matches for each technique.
The body-mind relationship is of fundamental importance in this work, meaning by this a
dimension of interaction between the physiological sphere, the emotional sphere and the logical
one, capable of activating those inner energies that are able to express our body.

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

The course aims to highlight the convergence, or even the substantial identity, between the two famous Aristotelian definitions of Homo sapiens: "animal that has language" and "political animal". By studying the texts of some important linguists and philosophers of language (E. Benveniste, JL Austin), as well as the major work of Hannah Arendt, Vita activa, we would like to clarify the reasons why verbal language must be considered the biological organ of public practice.
E. BENVENISTE, Problems of general linguistics, Il Saggiatore, Milan 1971, limited to pages 301-347, including the following essays: The nature of pronouns, The subjectivity in language, The analytic philosophy and language. Available in photocopy.

E. BENVENISTE, Problems of general linguistics II, Il Saggiatore, Milan 1987, limited to the following essays: The language and human experience, pp. 83-95; The formal apparatus of the enunciation, pp. 96-106. Available in photocopy.

H. ARENDT, Vita activa, Bompiani (paperback edition, on the market), limited to chapters 1, 2, 5. To be purchased.

The workshop will focus this year on podcasts and audio-productions on demand. Starting from the history of the audio-documentary in Italy and through multiple listenings, we will analyze forms, techniques and languages of audio productions . Particular attention will be reserved to podcast productions around the world. Through a series of practical lessons, the workshop will also invite students to create their own podcast project.

Workshop does not foresee the adoption fo any text

Italian literature and photography

a) Silvia Albertazzi, Letteratura e fotografia, Roma, Carocci, 2017

b) Giuseppe Carrara, Storie a vista. Retorica e poetiche del fototesto, Milano-Udine, Mimesis, 2020

c) plus one author, by choice, among:

Elio Vittorini, Conversazione in Sicilia [1941], illustrated by the author, edited by Maria Rizzarelli, Milano, Rizzoli, 2007

Pier Paolo Pasolini, La Divina Mimesis [1975], Milano, Mondadori, 2006

Nanni Balestrini, Blackout [1980], in Id., Le avventure della signorina Richmond e Blackout. Poesie complete volume secondo, Roma, DeriveApprodi, 2016

Lalla Romano, Nuovo romanzo di figure [1986], Torino, Einaudi, 1997

Giorgio Falco and Sabrina Ragucci, Condominio Oltremare, Roma, L’orma, 2014 + Giorgio Falco, Flashover. Incendio a Venezia, with photographs by Sabrina Ragucci, Torino, Einaudi, 2020

Michele Mari, Leggenda privata, Torino, Einaudi, 2017

d) to give a context in the 20th and 21st century italian literary history:
Giulio Ferroni, Storia della letteratura italiana, vol. IV: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012; and/or La terra della prosa. Narratori italiani degli anni zero (1999-2014), edited by Andrea Cortellessa, Roma, L’orma, 2014


Lessons: second semester

Exam: written

Physical nature of sound. Historical background.
Sound waves and their generation.
Sound physical parameters and main instruments for sound measurements.
The human ear and the human perception of sound.
Sound propagation through material media. The speed of propagation.
Sound waves main phenomena: interference and beats; diffraction; reflection and absorption; echo, refraction; resonance.
Musical instruments. The human voice.
Electroacoustic transducers. The synthesis of sound.
Applications in the entertainment field.
Music recordings and reproductions (vinyls, CDs, DVDs, etc.)

Physical nature of light. Historical background. Basics of optics.
Light waves and their generation.
Light physical parameters and main instruments for lighting measurements.
The human eye and the mechanism of vision. Photometry.
Light propagation through material media.
Light waves main phenomena: reflection and refraction, the main optical instruments, optical fibers; light dispersion, colors; interference and diffraction.
Artificial light sources.
Nature of light according to quantum physics. Laser light. Holography.
Applications in the entertainment field. Photography, cinematography, television.

materials provided by the teacher

The course develops methodological skills in order to undertake research in the field of communication studies. 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.

W. Griswold, 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 2009, pp. 253-285
G. Gobo, Descrivere il mondo. Teoria e pratica del metodo etnografico in sociologia, Carocci, Roma 2001

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

- Catricalà Valentino, «Prospettive delle arti nel XXI secolo. Storie, teorie, preservazione», Mimesis, 2016
- Gatti Giuseppe, “Dispositivi del Sé” in «Dispositivo. Un’archeologia della mente e dei media», Roma TrE-Press, 2019.
- Schechner Richard, «Introduzione ai performance studies», Cue Press, Imola, 2018.
- Parikka Jussi, «What is Media Archeology?», Polity Press, 2012.

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

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:
Cibo, a cura di Ester Fano, Nora McKeon e Giancarlo Monina, “Parolechiave”, 58, dicembre 2017, 240 p., € 22,00.
Massimo Montanari, Il cibo come cultura, Roma-Bari, Laterza, 2017, 186 p., € 10,00
Essays of your choice (minimum 3) from Storia d’Italia, Annali 13, L’alimentazione, Torino, Einaudi, 1998 (in the library)

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”.

Filmografia (lista soggetta a revisione):
Roberto Rossellini, Paisà, ep. Napoli, 1946
Luigi Zampa, Campane a martello, 1949
Federico De Robertis, Il mulatto, 1950
Giovanni Vento, Il nero, 1966
Guido Lombardi, Là-bas. Educazione criminale, 2011
Edoardo De Angelis, Il vizio della speranza, 2019

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

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

Notes and Press to be asked: bruno.zambardino@uniroma3.it; teoliazzurra@yahoo.it

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 reference bibliography will be indicated during the lessons

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

None. It is essentially a practical workshop.

Screening of seven short films, documentaries and fiction (the works present a free passage of genre, from the narrative of the pandemic, in its hardest moment, that of the lock down, experienced by young filmmakers locked up at home and the story of their lives, sometimes staging themselves with wisdom and measure).

These are mature and well done works. The young people worked in teams of three: producer, screenwriter and director (they are absolute beginnings).

The first quality of the work is the ability to work as a team, another indispensable virtue and for most of the seven films it was realized, for others less, to the detriment of the result.

The sense of the team will be one of the topics of the course; in filmmaking there is no room for those who do not know how to delegate, it is important to rely on the collaboration of many people and to love the chosen actors.

The choice of these seven small films was designed in order to not ignore the dramatic moment that young people and everyone are forced to experience.

The stages of creation and writing of the screenplays, these are seven completed stories.

The preparation phase: the house, the right rooms, the furniture and objects (a fly buzzing solitary against the glass of a window from which you can see the glimpse of a deserted city). The decision of the filmmakers, created by necessity, to stage themselves, their life, their nostalgia, pain, loneliness.

How to make a working plan, how to establish the shooting methods, how to decide the time of the shooting, how much to work if it happens. For some who lived with their families during the lock down, the involvement of family members who become real actors with a precise role.

Shooting: for the works shown, shooting was a crucial phase, during which the authors clashed with the objective difficulty of the enclosure and the limit of their narrative field but this determined the development of many alternative ideas to the program established. Cinema is also the art of getting by, of finding bizarre solutions and experimenting them with courage.

Editing and post-production: even editing was a highly formative experience. Some films were better in the first stage of editing and worse when editing took too long. Here, too, one must have the quality of letting go parts of one's work without becoming too attached to it. It is a very useful exercise in cruelty.

I will ask the students to create a collective work, possibly shot with their cell phones and edited with their computers. To write it together with others and develop it as a team. I wish they would put in scene their desire for the end of the pandemic, how do they imagine it, what do they dream, what do they ask of life afterwards? I understand that it seems like a bold undertaking but a dream can be told in an image.

Suggested books: Il cinema secondo Hitchock di Francois Truffaut (Feltrinelli) e Il cinema secondo Orson Welles di Peter Bogdanovich (Il saggiatore)