The course investigates the film analysis through two Master of Hollywood cinema, Frank Capra and Francis Ford Coppola, who will be investigated in their authorial strategies and the historical context of their cinema. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

V. Zagarrio, "The Un-Happy Ending. Re-viewing the cinema of Frank Capra", New York, Bordighera Press, 2011.

V. Zagarrio, "Francis Ford Coppola. Un sogno lungo il cinema", Soveria Mannelli, Rubbettino, 2020. English students who does not speak Italian can substitute "Francis Ford Coppola. Un sogno lungo il cinema" with: J. Menne, "Francis Ford Coppola", Chicago, University of Illinois Press, 2014.

This course provides the students with experiences and skills concerning the basic elements of composition in performing arts: Movement, Space, Expression, Rhythm.
The course will treat some definitions and experiences of the expressive movement, of his formal, dynamic and symbolic values, in practices and reflections on the physical action during the first decades of the twentieth century, searching in a field shared by theatre, dance, gymnastics, visual cultures and anthropology.

Foreign students can study Eisenstein, Mauss and Warburg's texts in their native language versions or translations

Contemporary dance in the experience of some italian authors who have reinvented the language of the body and the performing art. Founders of traditions and creators of new research trajectories, their coreographic experience and writings constitute a heritage on the border between theory and practice. Despite the great technical and poetic differences, the radical nature of their experimentation unites them and places them in the heart of the investigation into the very nature of movement and the scenic act.

- Il corpo insorto nella pratica performativa di Habillé d’eau , a cura di Ada D’Adamo, Editoria & Spettacolo, Spoleto 2012
- Paola Bianchi, Corpo politico. Distopia del gesto utopia del movimento, a cura di Silvia Bottiroli e Silvia Parlagreco, Editoria & Spettacolo, Spoleto 2014
- Samantha Marenzi, Alessandra Cristiani. Il corpo come radice e l’invenzione di una tradizione, Editoria & Spettacolo, Spoleto 2014 [provisional title, volume in course of publication]
- Lecture notes and materials by the teacher available on the course website http://www.teorieepratichedelladanza.it/

Non-attending students will add to the program additional handouts available on the course website
http://www.teorieepratichedelladanza.it/

Theatre and fascism. What can the theatre tell us about an extreme political situation? Theatre dramas say little in the case of a dictatorship. But the influence of history on theatre can make us understand many things. At the centre of the course is the proliferation of theatre magazines that took place around 1925, with Fascism already fully consolidated, but before the real changes decided from above on theatre began. The political situation did, however, influence the theatre, even though, throughout the 1920s, it still showed signs of vitality and a desire for change. The course includes a practical work on daily newspapers and theater magazines.

1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus (oppure: Emanuela Scarpellini, Organizzazione teatrale e politica del teatro nell’età fascista (scaricabile gratuitamente on line http://www.studiumanistici.unimi.it/files/_ITA_/Filarete/131.pdf)
2) Dossier Teatri nel fascismo, “Teatro e Storia” n. 38 (pp. 59-384)
3) Dossier L’anticipo italiano (“Teatro e storia” n. 29, pp. 27-256, può essere letto gratuitamente on-line dal sito di “Teatro e Storia”, http://www.teatroestoria.it/volumi.php)

Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the projection and analysis of films made out of the plays of Viviani ("La tavola dei poveri", directed by A. Blasetti, 1932, and "I dieci comandamenti", directed by M. Martone, 2000) and of unpublished documentary clips.

ATTENDING STUDENTS (to be considered attending the student can not make more than 2 absences)
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV);

2) Materials edited by the teacher (uploaded in the FILE section of the course on the TEAM platform)

3) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]

4) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]

5) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)

[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].


NON ATTENDING STUDENTS
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV)

2) F. Angelini, "Teatro e spettacolo nel primo Novecento", Bari-Roma, Laterza, 2009

3) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]

4) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]

5) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia" (1888-1947), a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)

[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].

In light of the close interrelation between music and visual arts within the historical Avant-garde and the second Avant-garde, the module will analyze the shared aesthetic concepts, with particular regard to the reception of the poetics of Impressionism and Symbolism by Claude Debussy, and of Paul Klee's work by Pierre Boulez. A monographic analysis will be dedicated to the incidental music composed by Claude Debussy for Le martyre de Saint Sébastien (1911), a 'mystery play' written by Gabriele d'Annunzio.

Reference text being defined.

The first part of the course is devoted to the changes taking place within the public and political scene and the most important theoretical contributions. In the second part will be considered the main areas of transformation of political communication in relation to the recent history of Italy. In the third part will analyze the role played by television and social media in the popularization of politics. The recent election campaign of the US Presidential Elections will be analyzed and studied.
The course includes the viewing and analysis of audiovisual materials propaganda such as television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Course program
- E. Novelli, Le campagne elettorali in Italia, Laterza, Roma 2018.
A text of your choice between
- Paolo Gribaudo, I partiti digitali, Il Mulino 2020
- Gianpietro Mazzoleni, Roberta Bracciale, La politica pop online, Il Mulino 2019

For students of the Master's Degree in International Relations of Political Science, for which the examination is worth eight credits, the program also includes one of the following texts:
- Paolo Mancini, Il PostPartito, Il Mulino, Bologna, 2015.
- Ilvo Diamanti, Marc Lazar, Popolocrazia, Laterza, Roma 2018.
- C. Lombardo, E. Novelli, C. Ruggiero, (a cura di), La società nelle urne, Franco Angeli, Milano 2019, solo parte seconda pag. 115-285.

The following audiovisual materials supplement the course and their vision is suggested to the students.
– “Mi consenta” La Grande Storia, Rai Tre: http://www.lagrandestoria.rai.it/dl/portali/site/puntata/ContentItem-39b8c91a-4ca4-4ad1-8429-00e11b21b042.html
– “I politici e la tv”, Correva l’anno, Rai Tre, http://www.raiplay.it/video/2016/09/Correva-lanno—I-politici-e-la-tv-del-19092016-bae0add3-4fb2-4730-ad11-fffea112e7de.html
- "70 years of Italian electoral campaigns". 1 part: https://www.youtube.com/watch?v=BMYA6nWs594
- "70 years of Italian electoral campaigns". 2 part: https://www.youtube.com/watch?v=__F8kF9ObFA

The course deals with the study and analysis of images and it refers particularly to the social aspects that affect the meaning construction. The first part of the course will provide the analytical and methodological tools to analyze images and photos (Roland Barthes' and Susan Sontag's theories will be considered). The second part will focus on the public and social uses of photos, devoting a special attention to the images of controversial pasts (wars, natural disasters, violence, terrorist attacks). Moreover, the following topics will be illustrated: a) the relation between memory and photography; b) the digital photography; c) selfie and social identities; d) photography as art; e) photography and fashion. The third part will deal with the use of images in advertising.

1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Susan Sontag (1973), On Photography, Chapter 1 "In Plato's Cave, RosettaBooks, New York, pp. 1-19.
3) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi, Torino, pp. 193-211.
4) Barbie Zelizer (2004), The Voice of the Visual in Memory, in Phillips R. Kendall (Hg.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
5) Anna Lisa Tota (2013), A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition , in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, pp. 41-64.
6) André Gunthert (2016), L'immagine condivisa. La Fotografia digitale, soltanto capitoli 11 e 12, Contrasto Edizioni, Roma, pp. 135-173.
7) Susie Linfield, La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, pp. 10-46.
8) Nicholas Mirzoeff (2002), Introduzione alla cultura visuale, Capitolo Secondo, Meltemi, Roma, pp. 111-144.
The articles and essays will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (personal webpage).

The course investigates the film analysis through two Master of Hollywood cinema, Frank Capra and Francis Ford Coppola, who will be investigated in their authorial strategies and the historical context of their cinema. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

V. Zagarrio, "The Un-Happy Ending. Re-viewing the cinema of Frank Capra", New York, Bordighera Press, 2011.

V. Zagarrio, "Francis Ford Coppola. Un sogno lungo il cinema", Soveria Mannelli, Rubbettino, 2020. English students who does not speak Italian can substitute "Francis Ford Coppola. Un sogno lungo il cinema" with: J. Menne, "Francis Ford Coppola", Chicago, University of Illinois Press, 2014.

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:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.

2. The monographic part includes:
Victor Turner, Antropologia della performance, Bologna, il Mulino, 1992.
Stefano de Matteis, Le false libertà. Verso la post globalizzazione, Milano, Meltemi 2017.

Emotions: definition, biological and social functions, types, regulation, expression and communication. Basic emotions, image, cognitive, social, moral emotions. Their relationships with interpersonal interaction and relations, on the job, in teaching and learning, politics, art, music, entertainment.
In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis and detection of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.

Teaching material for students who take the whole course, 12 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Armando, Roma 2008.
C. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): esclusi i capitoli 3, 4, 5, 10, 11.
D. Poggi I. e D’Errico F.: Comunicazione multimodale e influenza sociale. Il corpo e il potere. Carocci, Roma 2020.
E. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
F. Un testo o insieme di testi, a scelta fra i punti del seguente elenco:

1. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
2. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
3. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
4. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
5. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
6. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
7. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
8. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
9. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
10. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
11. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
12. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
13. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019
14. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
15. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
16. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento. Bologna, Il Mulino.
17. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
18. Bambini V. Il cervello pragmatico. Roma, Carocci.
19. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
20. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

21. Both the following books:
Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
Riva G.: I social network. Bologna, Il Mulino

22. Both the following books:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

23. 4 papers on emotions to download from the following links:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi

24. 4 papers on multimodal communication to download from the following links:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi



Other texts can be substituted for those at item F. upon agreement with the teacher.


Teaching material for students who only take the course of “Psychology of Emotions”, 6 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Armando, Roma 2008.
C. One text or set of texts, chosen among the following:

1. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
2. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
3. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
4. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
5. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
6. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
7. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
8. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
9. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
10. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
11. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
12. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019

13. 4 papers about emotions, chosen among the following, to bdownload from:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi


Other texts can be substituted for those at item C. upon agreement with the teacher.

Teaching material for students who only take the course of “Psychology of Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:


A. Lotto L. and Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): except for chapters 3, 4, 5, 10, 11.
B. Poggi I. and D’Errico F.: Comunicazione multimodale e influenza sociale. Il corpo e il potere.. Carocci, Roma 2020.
C. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
D. One text or set of texts, chosen among the following items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento. Bologna, Il Mulino
7. Both of the following texts:
8. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
9. Riva G.: I social network. Bologna, Il Mulino.
10. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
11. Bambini V. Il cervello pragmatico. Roma, Carocci.
12. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
13. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

14. Both the following texts:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

15. 4 papers about multimodal communication, chosen among the following, to download from:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi


Other texts can be substituted for those at item C. upon agreement with the teacher.


Teaching material for students who take the course of “Psychology of Emotions and Multimodal Communication” for 6 credits only

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Armando, Roma 2008.
C. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): esclusi i capitoli 3, 4, 5, 10, 11.
D. Poggi I.: Le parole del corpo. Introduzione alla comunicazione multimodale. Carocci, Roma 2006.

The course is included in the programme of the Research Master in "Cultural Leadership" (University of Groningen). It can also be attended by Italian or Erasmus students.

The teaching materials and assigned readings will be uploaded on Moodle:
https://filosofiacomunicazionespettacolo.el.uniroma3.it/course/view.php?id=294

Content of the Course

Media shape culture; digital media are reshaping culture today. This module introduces a combination of perspectives on media objects and practices of use: historical, cultural, sociological, aesthetical, and curatorial. Media technologies are studied as tools for research (digital humanities), for education, and as curatorial tools used for presentation and mediation. The course is divided into three parts: 1) Media as systems of representation; 2) Media as cultural industries; 3) Media as technologies. Each part is addressed first in theoretical terms and subsequently explored through selected cases studies.

Learning Outcomes

Upon successful completion of the course unit, students are able to:
• Use the main theoretical and methodological approaches in analysing the relationship between media and culture, with particular reference to Sociology and Cultural Studies.
• Understand the key role of media in “shaping culture” and in the process through which culture and its (both symbolic and material, tangible and non tangible) expressions are assigned meaning and (aesthetic, social, economic, etc.) values.
• Understand how the role of media in “shaping culture” has changed with the diffusion of digital technologies/environments, user-generated contents, the shift from “broadcast cultures” to “participative cultures”.
• Deconstruct media representations of culture and its expressions, and uncover the functioning of discourses on culture that are reproduced by media.
• Understand the role and functioning of media as a cultural/creative industry, whose products are forms of culture in their own right (notion of “cultural reflexivity”).
• Develop their own analysis of media texts.
• Effectively use media technologies and languages in cultural sector-related professions: as tools for research (digital humanities), for education, and as curatorial tools.

Calculation of student workload

The Course comprises 6 EC = 125 hrs.

COMPULSORY READINGS

• McQuail, D., “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 23-48.
• McQuail, D., “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 52-75.
• McQuail, D., “Mass Communication and Culture”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 111-131.
• McQuail, D., “New Media – New Theory?”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 136-159.
• Arvidsson, A., “The Crisis of Digital Capitalism”, in A. Arvidsson, Changemakers: The Industrious Future of the Digital Economy, Polity Press, Cambridge, 2019, pp. 16-38.
• Striphas, T., Algorithmic culture, European Journal of Cultural Studies, 2015, 18(4-5): 395-412.
• Alexander, N., Catered to your future self: Netflix’s “predictive personalization” and the mathematization of taste, in K. McDonald and D. Smith-Rowsey (Eds.), The Netflix effect: Technology and entertainment in the 21 century, New York, NY, Bloomsbury, 2016, pp. 81–98.
• Guba, E. G. and Lincoln, Y. S., Competing paradigms in qualitative research, in N. K. Denzin and Y. S. Lincoln (Eds.), Handbook of qualitative research, Thousand Oaks, CA, Sage, pp. 105-117.
• Carah, N. and Louw, E., “Introduction”, in N. Carah and E. Louw, Media and Society. Production, Content and Participation, Sage, London, 2015, pp. 1-8.
• Carah, N. and Louw, E., “Meaning, representation and power”, in N. Carah and E. Louw, Media and Society. Production, Content and Participation, Sage, London, 2015, pp. 13-38.
• Brown, Jeffrey A., Girl Revolutionaries. Neoliberalist, Postfeminist, and Feminist Heroines, in J. A. Brown, Beyond Bombshells: The New Action Heroine in Popular Culture, University Press of Mississippi, Jackson, MS, 2016, pp. 167-196.
• Carah, N. and Louw, E., “The industrial production of meaning”, in N. Carah and E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57.
• Bolin, G., “Introduction”, “Media production and cultural industries”, and “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016.


SUGGESTED READINGS (NON-COMPULSORY)

• Peters, B., And lead us not into thinking the new is new: a bibliographic case for new media history, New Media & Society, 2009, Vol. 11(1&2): 13–30.
• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, New Review of Film and Television Studies, 2016, Vol. 14, No. 3, 364–385.
• Franiuk, R. and Scherr, S., The lion fell in love with the lamb, Feminist Media Studies, 2013, 13,1, pp. 14-28.
• Creeber, G., Killing us softly: Investigating the aesthetics, philosophy and influence of Nordic Noir Television, Journal of Popular Television, 2015, 3, 1, pp. 21-35.
• Durham, M.G., Blood, lust and love. Journal of Children and Media, 2012, 6, 3, pp. 281-299.
• Waade, A.M., Melancholy in Nordic noir: Characters, landscapes, light and music, Critical Studies in Television, 2017, Vol. 12(4) 380–394.

The first part of the course is devoted to the changes taking place within the public and political scene and the most important theoretical contributions. In the second part will be considered the main areas of transformation of political communication in relation to the recent history of Italy. In the third part will analyze the role played by television and social media in the popularization of politics. The recent election campaign of the US Presidential Elections will be analyzed and studied.
The course includes the viewing and analysis of audiovisual materials propaganda such as television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Course program
- E. Novelli, Le campagne elettorali in Italia, Laterza, Roma 2018.
A text of your choice between
- Paolo Gribaudo, I partiti digitali, Il Mulino 2020
- Gianpietro Mazzoleni, Roberta Bracciale, La politica pop online, Il Mulino 2019

For students of the Master's Degree in International Relations of Political Science, for which the examination is worth eight credits, the program also includes one of the following texts:
- Paolo Mancini, Il PostPartito, Il Mulino, Bologna, 2015.
- Ilvo Diamanti, Marc Lazar, Popolocrazia, Laterza, Roma 2018.
- C. Lombardo, E. Novelli, C. Ruggiero, (a cura di), La società nelle urne, Franco Angeli, Milano 2019, solo parte seconda pag. 115-285.

The following audiovisual materials supplement the course and their vision is suggested to the students.
– “Mi consenta” La Grande Storia, Rai Tre: http://www.lagrandestoria.rai.it/dl/portali/site/puntata/ContentItem-39b8c91a-4ca4-4ad1-8429-00e11b21b042.html
– “I politici e la tv”, Correva l’anno, Rai Tre, http://www.raiplay.it/video/2016/09/Correva-lanno—I-politici-e-la-tv-del-19092016-bae0add3-4fb2-4730-ad11-fffea112e7de.html
- "70 years of Italian electoral campaigns". 1 part: https://www.youtube.com/watch?v=BMYA6nWs594
- "70 years of Italian electoral campaigns". 2 part: https://www.youtube.com/watch?v=__F8kF9ObFA

In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of controversial events, arena where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the author's death, theories of reception, art as social practice, the institutional definition of artistic value, cases of " non-recognition " and plagiarism, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of social media in the production of artistic reputations and in relation to the "arts worlds".
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia arts.

1) Anna Lisa Tota e Antonietta De Feo (2019), Sociologia delle arti. Musei, memoria e performance digitali, Carocci, Roma.
2) Anna Lisa Tota, Lia Luchetti e Trever Hagen (2018) (a cura di) Sociologie della memoria. Verso un’ecologia del passato, Carocci, Roma.

The course deals with the study and analysis of images and it refers particularly to the social aspects that affect the meaning construction. The first part of the course will provide the analytical and methodological tools to analyze images and photos (Roland Barthes' and Susan Sontag's theories will be considered). The second part will focus on the public and social uses of photos, devoting a special attention to the images of controversial pasts (wars, natural disasters, violence, terrorist attacks). Moreover, the following topics will be illustrated: a) the relation between memory and photography; b) the digital photography; c) selfie and social identities; d) photography as art; e) photography and fashion. The third part will deal with the use of images in advertising.

1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Susan Sontag (1973), On Photography, Chapter 1 "In Plato's Cave, RosettaBooks, New York, pp. 1-19.
3) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi, Torino, pp. 193-211.
4) Barbie Zelizer (2004), The Voice of the Visual in Memory, in Phillips R. Kendall (Hg.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
5) Anna Lisa Tota (2013), A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition , in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, pp. 41-64.
6) André Gunthert (2016), L'immagine condivisa. La Fotografia digitale, soltanto capitoli 11 e 12, Contrasto Edizioni, Roma, pp. 135-173.
7) Susie Linfield, La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, pp. 10-46.
8) Nicholas Mirzoeff (2002), Introduzione alla cultura visuale, Capitolo Secondo, Meltemi, Roma, pp. 111-144.
The articles and essays will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (personal webpage).

This course provides the students with experiences and skills concerning the basic elements of composition in performing arts: Movement, Space, Expression, Rhythm.
The course will treat some definitions and experiences of the expressive movement, of his formal, dynamic and symbolic values, in practices and reflections on the physical action during the first decades of the twentieth century, searching in a field shared by theatre, dance, gymnastics, visual cultures and anthropology.

Foreign students can study Eisenstein, Mauss and Warburg's texts in their native language versions or translations

Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the projection and analysis of films made out of the plays of Viviani ("La tavola dei poveri", directed by A. Blasetti, 1932, and "I dieci comandamenti", directed by M. Martone, 2000) and of unpublished documentary clips.

ATTENDING STUDENTS (to be considered attending the student can not make more than 2 absences)
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV);

2) Materials edited by the teacher (uploaded in the FILE section of the course on the TEAM platform)

3) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]

4) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]

5) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)

[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].


NON ATTENDING STUDENTS
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV)

2) F. Angelini, "Teatro e spettacolo nel primo Novecento", Bari-Roma, Laterza, 2009

3) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]

4) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]

5) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia" (1888-1947), a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)

[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].

The course investigates the film analysis through two Master of Hollywood cinema, Frank Capra and Francis Ford Coppola, who will be investigated in their authorial strategies and the historical context of their cinema. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

V. Zagarrio, "The Un-Happy Ending. Re-viewing the cinema of Frank Capra", New York, Bordighera Press, 2011.

V. Zagarrio, "Francis Ford Coppola. Un sogno lungo il cinema", Soveria Mannelli, Rubbettino, 2020. English students who does not speak Italian can substitute "Francis Ford Coppola. Un sogno lungo il cinema" with: J. Menne, "Francis Ford Coppola", Chicago, University of Illinois Press, 2014.

Theatre and fascism. What can the theatre tell us about an extreme political situation? Theatre dramas say little in the case of a dictatorship. But the influence of history on theatre can make us understand many things. At the centre of the course is the proliferation of theatre magazines that took place around 1925, with Fascism already fully consolidated, but before the real changes decided from above on theatre began. The political situation did, however, influence the theatre, even though, throughout the 1920s, it still showed signs of vitality and a desire for change. The course includes a practical work on daily newspapers and theater magazines.

1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus (oppure: Emanuela Scarpellini, Organizzazione teatrale e politica del teatro nell’età fascista (scaricabile gratuitamente on line http://www.studiumanistici.unimi.it/files/_ITA_/Filarete/131.pdf)
2) Dossier Teatri nel fascismo, “Teatro e Storia” n. 38 (pp. 59-384)
3) Dossier L’anticipo italiano (“Teatro e storia” n. 29, pp. 27-256, può essere letto gratuitamente on-line dal sito di “Teatro e Storia”, http://www.teatroestoria.it/volumi.php)

Re-Animation: contemporary animation as new dominant logic of moving images.

Paying particular attention to the conjunction between theories and practices, the course will focus on styles of the new animation products looking firstly at the dialectic between innovation and tradition, but also between aesthetic and narrative forms coming from different cultural paradigms. Without forgetting the way in which animation software is also used in live action cinema, the course will highlight how the concept of "re-animation" should also be understood as revitalization and problematization, carried out by animation itself, of historical, political and cultural issues involving new moving images.

C. Uva, P. Wells (a cura di), Re-Animation.L’animazione contemporanea tra cinema, televisione, videoarte e nuovi media, «Imago. Studi di cinema e media», n. 16, 2017.

C. Uva, Il sistema Pixar, Il Mulino, Bologna 2017.

Handout.

The course deals with the theory and the analysis of musical performance, both in terms of a specifically musicological approach (vocal and instrumental performance practices from the Baroque to the twentieth century), and on that of cultural history. In particular, it will be examined the figure of Maria Callas, also in the relations with the social context and with other arts (literature, theater, cinema, art, media).

- Selected essays which will be communicated at the beginning of the lessons
- "Mille e una Callas. Voci e studi", a cura di Luca Aversano e Jacopo Pellegrini, II ed., Quodlibet, Macerata 2017.

Additional materials for student non attending the lessons:
One book of free choice among:
Enrico Careri, Studi su esecuzione e interpretazione. Vivaldi, Schubert, E.A. Mario, Lim, Lucca 2014; Arturo Toscanini: il direttore e l'artista mediatico, a cura di Marco Capra e Ivano Cavallini, Lim, Lucca 2011; Davide Bertotti, Il direttore d'orchestra da Wagner a Furtwängler : l'illustre aberrazione, L’epos, Palermo 2005; Hans-Heinrich Unger, Musica e retorica fra XVI e XVIII secolo, a cura di Elisabetta Zoni, Alinea Editrice, Firenze 2003; Ivano Cavallini, Il direttore d’orchestra. Genesi e storia di un’arte, Marsilio, Venezia 1998; Piero Rattalino, Storia del pianoforte, Il Saggiatore, Milano 2008; Bernard Sherman, Interviste sulla musica antica. Dal canto gregoriano a Monteverdi, Edt, Torino 2002; Free improvisation: history and perspectives, a cura di A. Sbordoni e A. Rostagno, Lucca, LIM, 2018.

Brief introduction to Giambattista Vico's thought, with particular attention to its importance for Aestehtics. Reading of some parts of Giambattista Vico's The New Science (1744).

Giambattista Vico The New Science (1744), only these parts: Idea of the Work; Book I; Book II (only Section 1 and Section 2)
Leonardo Amoroso Introduzione alla lettura della Scienza Nuova, Pisa, ETS (only the pages concerning the parts of Vico's text the student schould read).

In light of the close interrelation between music and visual arts within the historical Avant-garde and the second Avant-garde, the module will analyze the shared aesthetic concepts, with particular regard to the reception of the poetics of Impressionism and Symbolism by Claude Debussy, and of Paul Klee's work by Pierre Boulez. A monographic analysis will be dedicated to the incidental music composed by Claude Debussy for Le martyre de Saint Sébastien (1911), a 'mystery play' written by Gabriele d'Annunzio.

Reference text being defined.

The course deals with the study and analysis of images and it refers particularly to the social aspects that affect the meaning construction. The first part of the course will provide the analytical and methodological tools to analyze images and photos (Roland Barthes' and Susan Sontag's theories will be considered). The second part will focus on the public and social uses of photos, devoting a special attention to the images of controversial pasts (wars, natural disasters, violence, terrorist attacks). Moreover, the following topics will be illustrated: a) the relation between memory and photography; b) the digital photography; c) selfie and social identities; d) photography as art; e) photography and fashion. The third part will deal with the use of images in advertising.

1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Susan Sontag (1973), On Photography, Chapter 1 "In Plato's Cave, RosettaBooks, New York, pp. 1-19.
3) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi, Torino, pp. 193-211.
4) Barbie Zelizer (2004), The Voice of the Visual in Memory, in Phillips R. Kendall (Hg.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
5) Anna Lisa Tota (2013), A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition , in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, pp. 41-64.
6) André Gunthert (2016), L'immagine condivisa. La Fotografia digitale, soltanto capitoli 11 e 12, Contrasto Edizioni, Roma, pp. 135-173.
7) Susie Linfield, La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, pp. 10-46.
8) Nicholas Mirzoeff (2002), Introduzione alla cultura visuale, Capitolo Secondo, Meltemi, Roma, pp. 111-144.
The articles and essays will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (personal webpage).

The course presents different aspects of historical research methodology, meant both as a set of operational tools and techniques, and as an historical theory. The concept of the Global History will be examined.
The first part of the course (12 hours) introduces the main elements of the history of historiography starting from the birth of the discipline during the nineteenth century. The second part of the course (12 hours) addresses the theoretical and methodological aspects of the use of historical sources with particular attention to "new sources" and dynamic use. The third and final part of the course (12 hours) focuses on the monographic theme of Global History.

G. De Luna, La Passione e la ragione. Il mestiere dello storico contemporaneo, Milano, Bruno Mondadori, 2004 (pp. 259, € 20,00)

A book to be chosen from:
- E. Vanhaute, Introduzione alla World History, Bologna, il Mulino, 2015 (pp. 272, € 25,00)
- S. Conrad, Storia globale. Un’introduzione, Roma, Carocci, 2015 (pp. 212, € 19,00)

Reading it is suggested:
- S. Gruzinski, Abbiamo ancora bisogno della storia? Il senso del passato nel mondo globalizzato, Milano, Raffaello Cortina, 2016 (pp. 166, € 18,00)

This course provides the students with experiences and skills concerning the basic elements of composition in performing arts: Movement, Space, Expression, Rhythm.
The course will treat some definitions and experiences of the expressive movement, of his formal, dynamic and symbolic values, in practices and reflections on the physical action during the first decades of the twentieth century, searching in a field shared by theatre, dance, gymnastics, visual cultures and anthropology.

Foreign students can study Eisenstein, Mauss and Warburg's texts in their native language versions or translations

Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the projection and analysis of films made out of the plays of Viviani ("La tavola dei poveri", directed by A. Blasetti, 1932, and "I dieci comandamenti", directed by M. Martone, 2000) and of unpublished documentary clips.

ATTENDING STUDENTS (to be considered attending the student can not make more than 2 absences)
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV);

2) Materials edited by the teacher (uploaded in the FILE section of the course on the TEAM platform)

3) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]

4) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]

5) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)

[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].


NON ATTENDING STUDENTS
1) V. Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (except chapter IV)

2) F. Angelini, "Teatro e spettacolo nel primo Novecento", Bari-Roma, Laterza, 2009

3) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]

4) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]

5) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia" (1888-1947), a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)

[A copy of the scheduled films, available for free on you tube, is however available to students at the Dams Library, via Ostiense 139, floor -1].

Contemporary dance in the experience of some italian authors who have reinvented the language of the body and the performing art. Founders of traditions and creators of new research trajectories, their coreographic experience and writings constitute a heritage on the border between theory and practice. Despite the great technical and poetic differences, the radical nature of their experimentation unites them and places them in the heart of the investigation into the very nature of movement and the scenic act.

- Il corpo insorto nella pratica performativa di Habillé d’eau , a cura di Ada D’Adamo, Editoria & Spettacolo, Spoleto 2012
- Paola Bianchi, Corpo politico. Distopia del gesto utopia del movimento, a cura di Silvia Bottiroli e Silvia Parlagreco, Editoria & Spettacolo, Spoleto 2014
- Samantha Marenzi, Alessandra Cristiani. Il corpo come radice e l’invenzione di una tradizione, Editoria & Spettacolo, Spoleto 2014 [provisional title, volume in course of publication]
- Lecture notes and materials by the teacher available on the course website http://www.teorieepratichedelladanza.it/

Non-attending students will add to the program additional handouts available on the course website
http://www.teorieepratichedelladanza.it/

The first part of the course is devoted to the changes taking place within the public and political scene and the most important theoretical contributions. In the second part will be considered the main areas of transformation of political communication in relation to the recent history of Italy. In the third part will analyze the role played by television and social media in the popularization of politics. The recent election campaign of the US Presidential Elections will be analyzed and studied.
The course includes the viewing and analysis of audiovisual materials propaganda such as television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Course program
- E. Novelli, Le campagne elettorali in Italia, Laterza, Roma 2018.
A text of your choice between
- Paolo Gribaudo, I partiti digitali, Il Mulino 2020
- Gianpietro Mazzoleni, Roberta Bracciale, La politica pop online, Il Mulino 2019

For students of the Master's Degree in International Relations of Political Science, for which the examination is worth eight credits, the program also includes one of the following texts:
- Paolo Mancini, Il PostPartito, Il Mulino, Bologna, 2015.
- Ilvo Diamanti, Marc Lazar, Popolocrazia, Laterza, Roma 2018.
- C. Lombardo, E. Novelli, C. Ruggiero, (a cura di), La società nelle urne, Franco Angeli, Milano 2019, solo parte seconda pag. 115-285.

The following audiovisual materials supplement the course and their vision is suggested to the students.
– “Mi consenta” La Grande Storia, Rai Tre: http://www.lagrandestoria.rai.it/dl/portali/site/puntata/ContentItem-39b8c91a-4ca4-4ad1-8429-00e11b21b042.html
– “I politici e la tv”, Correva l’anno, Rai Tre, http://www.raiplay.it/video/2016/09/Correva-lanno—I-politici-e-la-tv-del-19092016-bae0add3-4fb2-4730-ad11-fffea112e7de.html
- "70 years of Italian electoral campaigns". 1 part: https://www.youtube.com/watch?v=BMYA6nWs594
- "70 years of Italian electoral campaigns". 2 part: https://www.youtube.com/watch?v=__F8kF9ObFA

The course investigates the film analysis through two Master of Hollywood cinema, Frank Capra and Francis Ford Coppola, who will be investigated in their authorial strategies and the historical context of their cinema. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

V. Zagarrio, "The Un-Happy Ending. Re-viewing the cinema of Frank Capra", New York, Bordighera Press, 2011.

V. Zagarrio, "Francis Ford Coppola. Un sogno lungo il cinema", Soveria Mannelli, Rubbettino, 2020. English students who does not speak Italian can substitute "Francis Ford Coppola. Un sogno lungo il cinema" with: J. Menne, "Francis Ford Coppola", Chicago, University of Illinois Press, 2014.

Theatre and fascism. What can the theatre tell us about an extreme political situation? Theatre dramas say little in the case of a dictatorship. But the influence of history on theatre can make us understand many things. At the centre of the course is the proliferation of theatre magazines that took place around 1925, with Fascism already fully consolidated, but before the real changes decided from above on theatre began. The political situation did, however, influence the theatre, even though, throughout the 1920s, it still showed signs of vitality and a desire for change. The course includes a practical work on daily newspapers and theater magazines.

1) Gianfranco Pedullà, Il teatro italiano nel tempo del fascismo, Titivillus (oppure: Emanuela Scarpellini, Organizzazione teatrale e politica del teatro nell’età fascista (scaricabile gratuitamente on line http://www.studiumanistici.unimi.it/files/_ITA_/Filarete/131.pdf)
2) Dossier Teatri nel fascismo, “Teatro e Storia” n. 38 (pp. 59-384)
3) Dossier L’anticipo italiano (“Teatro e storia” n. 29, pp. 27-256, può essere letto gratuitamente on-line dal sito di “Teatro e Storia”, http://www.teatroestoria.it/volumi.php)

The course is divided in two parts:he first one is a general introduction on the basic concepts of public communication. The included topics are: the Forms and Devices of Public Communication, the Relationship between Power and Communication, the Features of the Public Space as a space of discussion articulated on Global Communication Networks. The first part will mainly include frontal lessons supported by PowerPoint presentations.
The second part of the course explores the relationship between public communication and the media. The media will be approached as spaces of negotiation between civil society and the institutions, in which public knowledge is created and reproduced. In particular, the role of the ecosystem of digital platforms and social media will be addressed. Interested students can take part in laboratory activities focused on case studies on how old and new media platforms contribute to the narration of public and political phenomena.

Below are the exam texts presented in the suggested order of reading:

1) M. Castells (2017), Comunicazione e potere. UBE Paperback, Milano 2017 (nuova edizione). The following chapters:
- Le reti digitali e la cultura dell’autonomia;
- Il potere nella società in rete
- La comunicazione nell'età digitale
- Intervenire sulle reti di comunicazione: politica mediatica, politica dello scandalo e crisi della democrazia (up to paragraph “L’impatto politico della politica dello scandalo” INCLUDED)
- Riprogrammare le reti di comunicazione: movimenti sociali, politica insorgente e nuovo spazio pubblico (up to paragraph “Scaldarsi per il riscaldamento globale: il movimento ecologista e la nuova cultura della natura INCLUDED).

2) José van Dijck and Thomas Poell (2013), Understanding Social Media Logic, in Media and Communication, Volume 1, Issue 1, pp. 2–14
3) José van Dijck (2012), Facebook and the engineering of connectivity: A multi-layered approach to social media platforms, in Convergence: The International Journal of Research into New Media Technologies 19(2), pp. 141-155
4) José Van Dijck, Thomas Poell, Martijn De Waal (2019), Il sistema dell’informazione (capitolo terzo) in “Platform Society. Valori pubblici e società connessa”, Edizione Italiana a cura di Giovanni Boccia Artieri e Alberto Marinelli, Guerini, Milano, pp. 103-142.
5) Thomas Poell, José van Dijck (2018), Social Media and new protest movements. In The SAGE Handbook of Social Media, 546-561, edited by Jean Burgess, Alice Marwick & Thomas Poell, London, Sage.

In light of the close interrelation between music and visual arts within the historical Avant-garde and the second Avant-garde, the module will analyze the shared aesthetic concepts, with particular regard to the reception of the poetics of Impressionism and Symbolism by Claude Debussy, and of Paul Klee's work by Pierre Boulez. A monographic analysis will be dedicated to the incidental music composed by Claude Debussy for Le martyre de Saint Sébastien (1911), a 'mystery play' written by Gabriele d'Annunzio.

Reference text being defined.

The course deals with the theory and the analysis of musical performance, both in terms of a specifically musicological approach (vocal and instrumental performance practices from the Baroque to the twentieth century), and on that of cultural history. In particular, it will be examined the figure of Maria Callas, also in the relations with the social context and with other arts (literature, theater, cinema, art, media).

- Selected essays which will be communicated at the beginning of the lessons
- "Mille e una Callas. Voci e studi", a cura di Luca Aversano e Jacopo Pellegrini, II ed., Quodlibet, Macerata 2017.

Additional materials for student non attending the lessons:
One book of free choice among:
Enrico Careri, Studi su esecuzione e interpretazione. Vivaldi, Schubert, E.A. Mario, Lim, Lucca 2014; Arturo Toscanini: il direttore e l'artista mediatico, a cura di Marco Capra e Ivano Cavallini, Lim, Lucca 2011; Davide Bertotti, Il direttore d'orchestra da Wagner a Furtwängler : l'illustre aberrazione, L’epos, Palermo 2005; Hans-Heinrich Unger, Musica e retorica fra XVI e XVIII secolo, a cura di Elisabetta Zoni, Alinea Editrice, Firenze 2003; Ivano Cavallini, Il direttore d’orchestra. Genesi e storia di un’arte, Marsilio, Venezia 1998; Piero Rattalino, Storia del pianoforte, Il Saggiatore, Milano 2008; Bernard Sherman, Interviste sulla musica antica. Dal canto gregoriano a Monteverdi, Edt, Torino 2002; Free improvisation: history and perspectives, a cura di A. Sbordoni e A. Rostagno, Lucca, LIM, 2018.

Travelling Giorgio Manganelli

a) Giorgio Manganelli, Esperimento con l’India, Milano, Adelphi, 1992 + Id., La favola pitagorica, Milano, Adelphi, 2005 + Id., L’isola pianeta, Milano, Adelphi, 2006 + Viaggio in Africa, Adelphi 2018

b) Andrea Cortellessa, Il libro è altrove. Ventisei piccole monografie su Giorgio Manganelli, Luca Sossella 2020

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

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

The course is focussed on the digitization of audio-visual media, on multimedia convergence, on videogame cultures, on the multiplication of the distribution platforms, on the multimedia storytelling, with a special attention to entertainment as a meta-genre.

A. Arvidsson, A. Delfanti, Introduzione ai media digitali, seconda edizione
aggiornata, Bologna, Il Mulino, 2016

E. Menduni, Entertainment, Bologna, Il Mulino, 2013

T. BONINI, A. CALIANDRO, G. ANSELMI, La diffusione della musica
pop nel sistema ibrido dei media: tra piattaforme digitali e
broadcaster tradizionali, “Studi Culturali”, XVI, 2, pp. 225-56, 2019

L. BARRA, M. PERROTTA, “Il cinema italiano nell’era della
convergenza. Televisione, streaming, piattaforme digitali”, in
Scaglioni, M. (a cura di), Cinema Made in Italy, Roma, Carocci, 2020

Film journalism between tradition and new challenges. The workshop will have the goal of observing the various media (daily paper and online newspaper, specialized magazines, television and radio) in the light of the main changes that in recent years have involved the entertainment information and in particular the movie information with the advent of the Internet and then of social networks. The crisis of critics and the birth of influencers, the ever-increasing space for gossip and new forms of narration of news about cinema. The workshop will also address specific cases such as the #metoo phenomenon and the Oscar's resounding error to 'La La Land' actually intended for 'Moonlight' and also the show must go on in times of covid19. Students will be asked to produce an example of their choice (article, video interview, podcast or radio interview) among those proposed during the workshop.

Dalla carta alla rete, andata e ritorno di Maurizio Boldrini, La casa di Usher
Professione giornalista - Le tecniche, i media, le regole di Alberto Papuzzi, Donzelli Editore
Eretici digitali di Massimo Russo e Vittorio Zambardino, Apogeo
Storia del giornalismo, Giovanni Gozzini, Bruno Mondadori
Televisione e radio nel XXI secolo di Enrico Menduni, Laterza

A theoretical and historical analysis of concepts like “Intermediality”, ”Expanded Arts”, “Artmix”, “Dramaturgy of the Arts” from the ‘60s to today.
An analysis of the influence of “Intermediality” on Cinema, Communication and New Media histories.
There will be encounters with Italian and foreign artists and film-maker.

- F. Zecca, "Cinema e intermedialità. Modelli di traduzione", Forum, Udine 2013;
- 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.

OPTIONALLY:
- V. Catricalà (ed.), "Media Art. Towards a new Definition of Arts in the Ages of Technology, Gli Ori", Fondazione Mondo Digitale, Roma 2015;
- L. Leuzzi, S. Partridge, "REWIND/Italia. Early Video Art in Italy / I primi anni della videoarte in Italia", John Libbey Publishing, New Barnet 2016 (Italian/English).

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

The course aims to problematize the teaching of cinema and audiovisual disciplines in the broader context of media education, both from a theoretical and methodological point of view and from a pragmatic point of view.
Starting from the redefinition of teaching strategies resulting from the increasingly frequent use of digital technologies in education, the first part of the course will focus on the presence and function of media in pedagogical practices, both as an object of study (media education and cinematographic language) as a support for teaching in many different disciplines (education through the media), paying specific attention to audiovisual media.
In the second part of the course, media education will be put in dialogue with the most recent theories developed in the field of visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education.

- Pier Cesare Rivoltella, Media Education. Idea, metodo, ricerca, ELS La Scuola, Brescia 2017
- Lecture notes edited by the teacher

Emotions: definition, biological and social functions, types, regulation, expression and communication. Basic emotions, image, cognitive, social, moral emotions. Their relationships with interpersonal interaction and relations, on the job, in teaching and learning, politics, art, music, entertainment.
In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis and detection of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.

Teaching material for students who take the whole course, 12 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Armando, Roma 2008.
C. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): esclusi i capitoli 3, 4, 5, 10, 11.
D. Poggi I. e D’Errico F.: Comunicazione multimodale e influenza sociale. Il corpo e il potere. Carocci, Roma 2020.
E. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
F. Un testo o insieme di testi, a scelta fra i punti del seguente elenco:

1. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
2. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
3. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
4. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
5. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
6. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
7. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
8. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
9. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
10. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
11. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
12. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
13. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019
14. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
15. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
16. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento. Bologna, Il Mulino.
17. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
18. Bambini V. Il cervello pragmatico. Roma, Carocci.
19. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
20. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

21. Both the following books:
Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
Riva G.: I social network. Bologna, Il Mulino

22. Both the following books:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

23. 4 papers on emotions to download from the following links:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi

24. 4 papers on multimodal communication to download from the following links:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi



Other texts can be substituted for those at item F. upon agreement with the teacher.


Teaching material for students who only take the course of “Psychology of Emotions”, 6 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Armando, Roma 2008.
C. One text or set of texts, chosen among the following:

1. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
2. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
3. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
4. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
5. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
6. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
7. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
8. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
9. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
10. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
11. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
12. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019

13. 4 papers about emotions, chosen among the following, to bdownload from:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi


Other texts can be substituted for those at item C. upon agreement with the teacher.

Teaching material for students who only take the course of “Psychology of Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:


A. Lotto L. and Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): except for chapters 3, 4, 5, 10, 11.
B. Poggi I. and D’Errico F.: Comunicazione multimodale e influenza sociale. Il corpo e il potere.. Carocci, Roma 2020.
C. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
D. One text or set of texts, chosen among the following items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento. Bologna, Il Mulino
7. Both of the following texts:
8. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
9. Riva G.: I social network. Bologna, Il Mulino.
10. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
11. Bambini V. Il cervello pragmatico. Roma, Carocci.
12. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
13. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

14. Both the following texts:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

15. 4 papers about multimodal communication, chosen among the following, to download from:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi


Other texts can be substituted for those at item C. upon agreement with the teacher.


Teaching material for students who take the course of “Psychology of Emotions and Multimodal Communication” for 6 credits only

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Armando, Roma 2008.
C. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): esclusi i capitoli 3, 4, 5, 10, 11.
D. Poggi I.: Le parole del corpo. Introduzione alla comunicazione multimodale. Carocci, Roma 2006.

The course focuses on the forms of Media Literacy in contemporary digital culture. The first part is theoretical and deals with the transformations of pedagogical forms and school learning interpreted in synergy with the new forms of spectatorship based on the logic of participatory cultures. The second part focuses on the forms of the crito-film and the video-essay. Read in continuity with the theoretical analyzes on the motif of the picture frame, the paratext and the screen, these critical-expressive practices reinterpret peculiar motifs and styles of the history of cinema and art, promoting an unprecedented educational and creative elaboration of comparison with contemporary images.

TEXTS:
Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.
Pier Cesare Rivoltella, Pier Giuseppe Rossi (a cura), Tecnologie per l’educazione, Pearson Italia, Milano-Torino 2019 (preface, introduction, chapters: 2, 7, 8, 9, 11, 13, 17).
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop of via G. Rocco 11.

FILM AND VIDEOGRAPHY:
I bambini al cinema (1957) Francesco Maselli; Zorns Lemma (1970) Hollis Frampton; Live-taped Video Corridor (1970) Bruce Nauman; Present Continuous Past (1974) Dan Graham; Mein Fenster (La mia finestra, 1979) Zbigniew Rybczynski; Media (1980) Zbigniew Rybczynski; Tele-racconto (1991) Giacomo Verde; Evidence (1995) Godfrey Reggio; Blinkenlights (2001) Chaos Computer Club; Star Guitar (music video The Chemical Brothers, 2002) Michel Gondry; Arcade (2002) Chaos Computer Club; La pozzanghera (2006) Studio Azzurro; Be Kind Rewind (2007) Michel Gondry; Stereoscope (2008) Chaos Computer Club; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;
anthology of found footage film: Trade Tattoo (1937) Len Lye, Rainbow Dance (1936) Len Lye, Rose Hobart (1939) Joseph Cornell, Le film est déjà commencé? (1951) Maurice Lemaitre, A movie (1958) Bruce Conner, Very Nice, Very Nice (1961) Arthur Lipsett, La rabbia (1963) Pier Paolo Pasolini, La verifica incerta (1965) Gianfranco Baruchello, Alberto Grifi, Movie Drome (1965-1968) Stan Vanderbeek, The Cut-Ups (1966) William S. Burroughs, Antony Balch, Exploding Plastic Inevitable (1966) Andy Warhol, Le stelle di Mario Schifano (1967), L’inizio (Načalo, 1967) Artavazd Pelešian, Tom Tom the Piper’s Son (1969-1971) Ken Jacobs, La société du spectacle (1973) Guy Debord, Technology Transformation: Wonder Woman (1978) Dara Birnbaum, Mongoloid (music video Devo, 1978) Bruce Conner, Koyaanisqatsi (1983) Godfrey Reggio, A TV Dante. The Inferno (1985-1989) Peter Greeneway e Tom Phillips, Dal polo all’equatore (1986) Yervant Gianikian e Angela Ricci Lucchi, Art of Memory (1987) Woody Vasulka, Steps (1987) Zbigniew Rybczynski, Histoire(s) du cinéma. 1a Toutes les histoires (1988) Jean Luc Godard, Dab (1988-2016) John Oswald, Alchemie (1992) Jürgen Reble, Filmarilyn (1992) Paolo Gioli, Passage à l’acte (1993) Martin Arnold, 24 Hour Psycho (1993) Douglas Gordon, Telephones (1995) Christian Marclay, The Georgetown Loop (1996) Ken Jacobs, Yours (1997) Jeff Scher, Film Ist 1. Movement and time (1998) Gustav Deutsch, L’arrivée (1998) Peter Tscherkassky, Outer Space (1999) Peter Tscherkassky, Essere morti o essere vivi è la stessa cosa (2000) Gianluigi Toccafondo, The Pentagon Tv Commercials (2003) Cane CapoVolto, Fast Film (2003) Virgil Widrich, Celestial Subway Lines/ Salvaging Noise (2004) Ken Jacobs, Sync(Watch) (2005) Marco Brambilla, 24 seconds Psycho (2005) Chris Bors, Installazione Film Ist (1-12) (2006) Gustav Deutsch, Crumax Rins (2006, visual Plaid) Bob Jaroc, Blob. THI$ I$ NOTH&ND (2008), Domine Jesus (2008) Leonardo Carrano, Alessandro Pierattini, Pasolini Requiem (2009) Mario Verger, The Clock (2010) Christian Marclay, Delia Derbyshire, Loop Composer (2011) AK_Alias, Blue Matter, Change Your Mind (2011) AK_Alias, Distorted Times (2012) Gideon van der Stelt, Creation (2012) Marco Brambilla, Cinema rianimato n. 3 (2012) Daniele Puppi, Cirrus (music video Bonobo, 2013) Cyriak, The Emoshjining (2014) Donato Sansone, Sigla Mostra Internazionale del Cinema di Pesaro (2016) Virgilio Villoresi, Purge The Odd Couple (2017) Pogo, RedruM (2018) Pogo;
anthology of crito-film: Stile di Piero della Francesca (1954) Carlo Ludovico Ragghianti, Carpaccio (1947) Roberto Longhi e Umberto Barbaro, Il dramma di Cristo (1948) Luciano Emmer ed Enrico Gras, Pittori di provincia (1953) Lucio Fulci, Cinéastes de notre temps (1964-1972) e Cinéma, de notre temps (1989-2018);
anthology of and video-essay: Le combat avec l’ange (2004) Alain Bergala, The Doors of Perspection (2011) People Like Us (Vicki Bennett), Double Lives, Second Chances (2011) Cristina Álvarez López, Kubrick // One Point Perspective (2012) kogonada, Tarantino // From Below (2012) kogonada, Wes Anderson // From Above (2012) kogonada, The Career of Paul Thomas Anderson in Five Shots (2012) Kevin B. Lee, Rear Window Timelapse (2012) Jeff Desom, Zero De Doom (2012) Matthew Cheney, The Essay Film: Some Thoughts of Discontent (2013) Kevin B. Lee, Screen and Surface, Soft and Hard: the Cinema of Leos Carax (2013)Adrian Martin, Cristina Àlvarez López, [De Palma’s] Vision (2014) Adrian Martin, Cristina Àlvarez López, Wes Anderson // Centered (2014) kogonada, Peter Greenaway // Centered (2014) LaurentG, Evolution of the Dolly Zoom (2014) Vashi Nedomansky, Eyes of Hitchcock (2014) kogonada, Alphaville - A Crystal Maze (2014) Henrike Lindenberger, Cross-cut (2014) Drew Morton, Last Year At The Overlook (2015) Drew Morton, The Dutch Angle (2015) Jacob T. Swinney, First and Final Frames (2015) Jacob T.Swinney, The Definition of Film (2015) Richard Misek, Auteur in Space (2015) kogonada, Volumetric Cinema (2015) Kevin L. Ferguson, Manderley Motel (2015) Corey Creekmur, Blue Shining (2015) Richard Vezina, Joel & Ethan Coen - Shot | Reverse Shot (2016) Tony Zhou, Taylor Ramos, Amélie - Symmetry & Camera Movement (2016) Lessa Räbiger, Godard in Fragments (2016) kogonada, The Spielberg Touchscreen (2016) Ken Provencher, Graphic Spaces: Film Transitions in Steven Spielberg’s Filmmaking (2018) Andrea Minuz.
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 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:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.

2. The monographic part includes:
Victor Turner, Antropologia della performance, Bologna, il Mulino, 1992.
Stefano de Matteis, Le false libertà. Verso la post globalizzazione, Milano, Meltemi 2017.

The course is included in the programme of the Research Master in "Cultural Leadership" (University of Groningen). It can also be attended by Italian or Erasmus students.

The teaching materials and assigned readings will be uploaded on Moodle:
https://filosofiacomunicazionespettacolo.el.uniroma3.it/course/view.php?id=294

Content of the Course

Media shape culture; digital media are reshaping culture today. This module introduces a combination of perspectives on media objects and practices of use: historical, cultural, sociological, aesthetical, and curatorial. Media technologies are studied as tools for research (digital humanities), for education, and as curatorial tools used for presentation and mediation. The course is divided into three parts: 1) Media as systems of representation; 2) Media as cultural industries; 3) Media as technologies. Each part is addressed first in theoretical terms and subsequently explored through selected cases studies.

Learning Outcomes

Upon successful completion of the course unit, students are able to:
• Use the main theoretical and methodological approaches in analysing the relationship between media and culture, with particular reference to Sociology and Cultural Studies.
• Understand the key role of media in “shaping culture” and in the process through which culture and its (both symbolic and material, tangible and non tangible) expressions are assigned meaning and (aesthetic, social, economic, etc.) values.
• Understand how the role of media in “shaping culture” has changed with the diffusion of digital technologies/environments, user-generated contents, the shift from “broadcast cultures” to “participative cultures”.
• Deconstruct media representations of culture and its expressions, and uncover the functioning of discourses on culture that are reproduced by media.
• Understand the role and functioning of media as a cultural/creative industry, whose products are forms of culture in their own right (notion of “cultural reflexivity”).
• Develop their own analysis of media texts.
• Effectively use media technologies and languages in cultural sector-related professions: as tools for research (digital humanities), for education, and as curatorial tools.

Calculation of student workload

The Course comprises 6 EC = 125 hrs.

COMPULSORY READINGS

• McQuail, D., “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 23-48.
• McQuail, D., “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 52-75.
• McQuail, D., “Mass Communication and Culture”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 111-131.
• McQuail, D., “New Media – New Theory?”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 136-159.
• Arvidsson, A., “The Crisis of Digital Capitalism”, in A. Arvidsson, Changemakers: The Industrious Future of the Digital Economy, Polity Press, Cambridge, 2019, pp. 16-38.
• Striphas, T., Algorithmic culture, European Journal of Cultural Studies, 2015, 18(4-5): 395-412.
• Alexander, N., Catered to your future self: Netflix’s “predictive personalization” and the mathematization of taste, in K. McDonald and D. Smith-Rowsey (Eds.), The Netflix effect: Technology and entertainment in the 21 century, New York, NY, Bloomsbury, 2016, pp. 81–98.
• Guba, E. G. and Lincoln, Y. S., Competing paradigms in qualitative research, in N. K. Denzin and Y. S. Lincoln (Eds.), Handbook of qualitative research, Thousand Oaks, CA, Sage, pp. 105-117.
• Carah, N. and Louw, E., “Introduction”, in N. Carah and E. Louw, Media and Society. Production, Content and Participation, Sage, London, 2015, pp. 1-8.
• Carah, N. and Louw, E., “Meaning, representation and power”, in N. Carah and E. Louw, Media and Society. Production, Content and Participation, Sage, London, 2015, pp. 13-38.
• Brown, Jeffrey A., Girl Revolutionaries. Neoliberalist, Postfeminist, and Feminist Heroines, in J. A. Brown, Beyond Bombshells: The New Action Heroine in Popular Culture, University Press of Mississippi, Jackson, MS, 2016, pp. 167-196.
• Carah, N. and Louw, E., “The industrial production of meaning”, in N. Carah and E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57.
• Bolin, G., “Introduction”, “Media production and cultural industries”, and “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016.


SUGGESTED READINGS (NON-COMPULSORY)

• Peters, B., And lead us not into thinking the new is new: a bibliographic case for new media history, New Media & Society, 2009, Vol. 11(1&2): 13–30.
• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, New Review of Film and Television Studies, 2016, Vol. 14, No. 3, 364–385.
• Franiuk, R. and Scherr, S., The lion fell in love with the lamb, Feminist Media Studies, 2013, 13,1, pp. 14-28.
• Creeber, G., Killing us softly: Investigating the aesthetics, philosophy and influence of Nordic Noir Television, Journal of Popular Television, 2015, 3, 1, pp. 21-35.
• Durham, M.G., Blood, lust and love. Journal of Children and Media, 2012, 6, 3, pp. 281-299.
• Waade, A.M., Melancholy in Nordic noir: Characters, landscapes, light and music, Critical Studies in Television, 2017, Vol. 12(4) 380–394.

Emotions: definition, biological and social functions, types, regulation, expression and communication. Basic emotions, image, cognitive, social, moral emotions. Their relationships with interpersonal interaction and relations, on the job, in teaching and learning, politics, art, music, entertainment.
In-depth study and research on the psychological processes (cognitive, affective, relational) of communication in all of its modalities: verbal and body (words and sentences, prosody and intonation, gestures, facial expression, gaze, touch, posture, proxemics, music), and technological media. Analysis and detection of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.

Teaching material for students who take the whole course, 12 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Armando, Roma 2008.
C. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): esclusi i capitoli 3, 4, 5, 10, 11.
D. Poggi I. e D’Errico F.: Comunicazione multimodale e influenza sociale. Il corpo e il potere. Carocci, Roma 2020.
E. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
F. Un testo o insieme di testi, a scelta fra i punti del seguente elenco:

1. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
2. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
3. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
4. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
5. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
6. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
7. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
8. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
9. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
10. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
11. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
12. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
13. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019
14. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
15. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
16. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento. Bologna, Il Mulino.
17. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
18. Bambini V. Il cervello pragmatico. Roma, Carocci.
19. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
20. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

21. Both the following books:
Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
Riva G.: I social network. Bologna, Il Mulino

22. Both the following books:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

23. 4 papers on emotions to download from the following links:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi

24. 4 papers on multimodal communication to download from the following links:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi



Other texts can be substituted for those at item F. upon agreement with the teacher.


Teaching material for students who only take the course of “Psychology of Emotions”, 6 Credits
The items to be studied for the oral exam are the following:

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Armando, Roma 2008.
C. One text or set of texts, chosen among the following:

1. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
2. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
3. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
4. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
5. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
6. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
7. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
8. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
9. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
10. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
11. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
12. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019

13. 4 papers about emotions, chosen among the following, to bdownload from:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi


Other texts can be substituted for those at item C. upon agreement with the teacher.

Teaching material for students who only take the course of “Psychology of Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:


A. Lotto L. and Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): except for chapters 3, 4, 5, 10, 11.
B. Poggi I. and D’Errico F.: Comunicazione multimodale e influenza sociale. Il corpo e il potere.. Carocci, Roma 2020.
C. Castelfranchi C. e Poggi I.: Bugie, finzioni, sotterfugi, per una scienza dell’inganno, Carocci, Roma 2012.
D. One text or set of texts, chosen among the following items:

1. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
2. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
3. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
4. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
5. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
6. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento. Bologna, Il Mulino
7. Both of the following texts:
8. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
9. Riva G.: I social network. Bologna, Il Mulino.
10. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
11. Bambini V. Il cervello pragmatico. Roma, Carocci.
12. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
13. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

14. Both the following texts:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

15. 4 papers about multimodal communication, chosen among the following, to download from:
http://host.uniroma3.it/docenti/poggi/inglese2.htm
https://www.researchgate.net/profile/Isabella_Poggi


Other texts can be substituted for those at item C. upon agreement with the teacher.


Teaching material for students who take the course of “Psychology of Emotions and Multimodal Communication” for 6 credits only

A. D’Urso V. e Trentin R.: Introduzione alla psicologia delle emozioni. Laterza, Bari 2006.
B. Poggi I. (a cura di): La mente del cuore. Armando, Roma 2008.
C. Lotto L. e Rumiati R. (a cura di). Introduzione alla psicologia della comunicazione. Il Mulino, Bologna 2019 (nuova edizione): esclusi i capitoli 3, 4, 5, 10, 11.
D. Poggi I.: Le parole del corpo. Introduzione alla comunicazione multimodale. Carocci, Roma 2006.

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:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.

2. The monographic part includes:
Victor Turner, Antropologia della performance, Bologna, il Mulino, 1992.
Stefano de Matteis, Le false libertà. Verso la post globalizzazione, Milano, Meltemi 2017.

a) The contents of the course (as indicated in the three thematic groups in point c) will be made comprehensible for all students, both those attending and not attending, thanks to the continuous alternation between French and Italian;

b) The course will be carefully set out according to the number of credits assigned;

c) The course will address three topics: a first part dedicated to the history of the sixteenth century with a particular focus on the geographical discoveries, the religious wars inside and outside Christianity and French Renaissance; a second part will examine some of the authors of the Pléiade; in the third and final part we will discuss some poetic reading through a close analysis of the text.

C. Vivanti, Le guerre di religione nel Cinquecento, Laterza, 2007

F. Braudel, Espansione europea e capitalismo (1450-1650), Il Mulino, 1999

Du Bellay, Rimpianti, Dedalus, 2014

Du Bellay, Le antichità di Roma, Carocci, 2005