The course aims to provide students with the knowledge and tools critical to understanding the changes taking place in models and forms of participation in the modern public arena, generated by the ever closer interaction between political system and its actors, on the one hand, and media and communication system, on the other.
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 and the role played by television and social media in the popularization of politics.In the third part will be analized the History and the evolution of the italian political talk-show.

The course includes the viewing and analysis of audiovisual materials propaganda such television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Programma d'esame:
- Edoardo Novelli, La turbopolitica, Bur Rizzoli, Milano 2005.
- Giampietro Mazzoleni, La comunicazione Politica, Bologna, Il Mulino 3 edizione 2012, capitoli 2, 3, 6, 7,8,9.
- Edoardo Novelli, La democrazia del talk-show, Roma, Carocc 2016.

Following programs available online are part of the examination program:
"Mi consente" 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

Following web sites contain documents and programs analyzed during the course and in the exam's books:
www.archivispotpolitici.it
www.ilgaladellapolitica.it
https://www.facebook.com/ArchiviSpotPolitici/?fref=ts

During the exam students must be capable to analyze a audiovisual programs and documents, available on line, listed in the professor's web-page at this adress: http://www.filcospe.it/index.php/persone/docenti/39-docenti/enovelli/34-attivita-didattica-novelli

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 very controversial events, arena where gender identities, ethnicity and social classes are socially constructed.

The first part aims 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, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising .
The second part concerns 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 contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia art.
The third part addresses the relationship between theatre and civil society with a special focus on the case of theatre in prisons.

1) A. L. Tota, Sociologie dell’arte. Dal museo tradizionale all’arte multimediale, Carocci, Roma, 2001.

2) Additional articles and essays available on the professor’s personal web page hosted on the website www.filcospe.it

The course focusses on "The Birth of Tragedy" (by F. W. Nietzsche"), with special concern for its influence on changes in performing arts values and practices between 19th and 20th century.

English speaking students can work on the english versions of the texts mentioned above (Nietzsche, Aeschylus, Sophocles, Baldry, Warburg).

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 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
1) V. Venturini, Raffaele Viviani. La compagnia, Napoli e l’Europa, Roma, Bulzoni, 2008 (except chapter IV);
2) Materials prepared by the Professor;
3) film: La tavola dei poveri, directed by A. Blasetti;
4) film: I dieci comandamenti, directed by M. Martone;
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/)
[copies of the films in the program is available to students at the library of Dams, , via Ostiense 139, piano -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, directed by A. Blasetti
4) film: I dieci comandamenti, directed by M. Martone
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/)
[copies of the films in the program is available to students at the library of Dams, , via Ostiense 139, piano -1].

The course will dwell upon the outlines of those contemporary studies which strongly link body and language by asserting that the growth and evolution of human symbolic faculty took their root in non-linguistic mind, that is in perceptive, emotional, locomotory and imaginative systems.

1- FRANCESCO FERRETTI, Alle origini del linguaggio umano, Bari, Laterza, 2010.
2- INES ADORNETTI, Il farsi e il disfarsi del discorso, (only chapt. IV, pp, 110-148).

View and analysis of video art works, experimental tv and electronic cinema between the ‘60s and today.
Meeting with Film and Video Creators.

- A. Amaducci, "Videoarte. Storia, autori, linguaggi", Kaplan, Torino 2014.
- V. Catricalà (a cura di), "Media Art. Torwards a new Definition of Arts in the Ages of Technology", Gli Ori - Fondazione Mondo Digitale, Roma 2015.

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

FILM: video art works, experimental tv and electronic cinema between the ‘60s and today, otherwise not available.

The course focusses on "The Birth of Tragedy" (by F. W. Nietzsche"), with special concern for its influence on changes in performing arts values and practices between 19th and 20th century.

English speaking students can work on the english versions of the texts mentioned above (Nietzsche, Aeschylus, Sophocles, Baldry, Warburg).

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 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
1) V. Venturini, Raffaele Viviani. La compagnia, Napoli e l’Europa, Roma, Bulzoni, 2008 (except chapter IV);
2) Materials prepared by the Professor;
3) film: La tavola dei poveri, directed by A. Blasetti;
4) film: I dieci comandamenti, directed by M. Martone;
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/)
[copies of the films in the program is available to students at the library of Dams, , via Ostiense 139, piano -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, directed by A. Blasetti
4) film: I dieci comandamenti, directed by M. Martone
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/)
[copies of the films in the program is available to students at the library of Dams, , via Ostiense 139, piano -1].

The course aims to provide students with the knowledge and tools critical to understanding the changes taking place in models and forms of participation in the modern public arena, generated by the ever closer interaction between political system and its actors, on the one hand, and media and communication system, on the other.
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 and the role played by television and social media in the popularization of politics.In the third part will be analized the History and the evolution of the italian political talk-show.

The course includes the viewing and analysis of audiovisual materials propaganda such television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Programma d'esame:
- Edoardo Novelli, La turbopolitica, Bur Rizzoli, Milano 2005.
- Giampietro Mazzoleni, La comunicazione Politica, Bologna, Il Mulino 3 edizione 2012, capitoli 2, 3, 6, 7,8,9.
- Edoardo Novelli, La democrazia del talk-show, Roma, Carocc 2016.

Following programs available online are part of the examination program:
"Mi consente" 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

Following web sites contain documents and programs analyzed during the course and in the exam's books:
www.archivispotpolitici.it
www.ilgaladellapolitica.it
https://www.facebook.com/ArchiviSpotPolitici/?fref=ts

During the exam students must be capable to analyze a audiovisual programs and documents, available on line, listed in the professor's web-page at this adress: http://www.filcospe.it/index.php/persone/docenti/39-docenti/enovelli/34-attivita-didattica-novelli

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 very controversial events, arena where gender identities, ethnicity and social classes are socially constructed.

The first part aims 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, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising .
The second part concerns 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 contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia art.
The third part addresses the relationship between theatre and civil society with a special focus on the case of theatre in prisons.

1) A. L. Tota, Sociologie dell’arte. Dal museo tradizionale all’arte multimediale, Carocci, Roma, 2001.

2) Additional articles and essays available on the professor’s personal web page hosted on the website www.filcospe.it

The course will dwell upon the outlines of those contemporary studies which strongly link body and language by asserting that the growth and evolution of human symbolic faculty took their root in non-linguistic mind, that is in perceptive, emotional, locomotory and imaginative systems.

1- FRANCESCO FERRETTI, Alle origini del linguaggio umano, Bari, Laterza, 2010.
2- INES ADORNETTI, Il farsi e il disfarsi del discorso, (only chapt. IV, pp, 110-148).

Travel literature of the third kind

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

b) «Con gli occhi aperti. 20 autori per 20 luoghi», edited by Andrea Cortellessa, Exòrma 2016

c) plus one author, by choice, among

Goffredo Parise, «Cara Cina», Rizzoli 1999 (out of print) + Id., «Guerre politiche», Adelphi 2007 + Id., «L’eleganza è frigida», Adelphi 2008 + «Riga 36. Goffredo Parise», edited by Marco Belpoliti and Andrea Cortellessa, Marcos y Marcos 2016, or

Giorgio Manganelli, «Esperimento con l’India», Adelphi 1992 + Id., «La favola pitagorica», Adelphi 2005 + Id., «L’isola pianeta», Adelphi 2006 + «Cina e altri Orienti», Adelphi, 2013 + «Riga 25. Giorgio Manganelli», edited by Marco Belpoliti and Andrea Cortellessa, Marcos y Marcos 2006 (out of print), or

Alberto Arbasino, «Paesaggi italiani con zombi», Adelphi 1998 + «Le muse a Los Angeles», Adelphi 2000 + Id., «America Amore», Adelphi 2011 + «Pensieri selvaggi a Buenos Aires», Adelphi 2012 + «Riga 18. Alberto Arbasino», edited by Marco Belpoliti ed Elio Grazioli, Marcos y Marcos 2001 (out of print), or

Gianni Celati, «Verso la foce», Feltrinelli 2002 + Id., «Avventure in Africa», Feltrinelli 2001 + Id., «Cinema all’aperto», Fandango 2011 + Id., «Passar la vita a Diol Kadd», Feltrinelli 2011 (including the dvd) + «Riga 28. Gianni Celati», edited by Marco Belpoliti and Marco Sironi, Marcos y Marcos 2008

d) plus one author among

Antonella Anedda, «Isolatria. Viaggio nell’arcipelago della Maddalena», Laterza 2013, or
Franco Arminio, «Viaggio nel cratere», Sironi 2003; or «Terracarne», Mondadori 2011, or
Raffaella D’Elia, «Come le stelle fisse», Empiria 2014, or
Giorgio Falco, «L’ubicazione del bene», Einaudi 2009; or, with Sabrina Ragucci, «Condominio Oltremare», L’orma 2014, or
Valerio Magrelli, «La vice-vita», Laterza 2009; or «La lingua restaurata», Piero Manni 2014, or
Tommaso Ottonieri, «Le strade che portano al Fùcino», Le Lettere 2008, or
Vitaliano Trevisan, «Tristissimi giardini», Laterza 2010, or
Giorgio Vasta, «Spaesamento», Laterza 2010; or «Absolutely nothing», Humboldt-Quodlibet 2016

e) to give a context in the 20th and 21st century italian literary history:

Giulio Ferroni, «Storia della letteratura italiana», vol. IV: «Il Novecento e il nuovo millennio», Milano, Mondadori Università, 2012

The first part aims at analysing the forms of public communication and the ways in which different institutions classify, think and speak within the public space, with a special focus on the role played by the media . Topics covered include: the articulation of public discourse in different national contexts, the processes of formation of public opinion, the relationship between media and new technologies.
The second part analyses the public communication of the past, with particular reference to its cultural shapes. To what extent cinema, theatre and museums can contribute to producing the public knowledge of very controversial pasts? To what extent the public knowledge of the Holocaust can be shaped through a movie or a comic (for example, Maus by Art Spiegelman)? A song can change the social trajectories of collective and social memories (the case of “Nick and Bart” by Joan Baez on Nicola Sacco and Bartolomeo Vanzetti)? To what extent a theatrical performance on Ustica can contribute to the public knowledge of the event itself? Can we learn something new on September 11th thanks to a series of short films dedicated to it? These are some of the questions, which the course will focus on.

1) Rampazi, Marita e Anna Lisa Tota (a cura di), 2007, La memoria pubblica. Trauma culturale, nuovi confini e identità nazionali, Novara, UTET.
2) Tota, Anna Lisa, 2003, La città ferita. Memoria e comunicazione pubblica della strage di Bologna, 2 agosto 1980, Bologna, il Mulino.
3) Moreover, the following article (available for the students on the professor’s personal page hosted on the website www.filcospe.it): Il Vietnam Veterans Memorial: la commemorazione di un passato difficile di Robin Wagner-Pacifici e Barry Schwartz (trad. it.) in Anna Lisa Tota (a cura di), 2001, La memoria contesa. Studi sulla comunicazione sociale del passato, Milano, Franco Angeli pp. 109-148.

The course focuses on the relation between media representations/uses and gender/sexual identity. Precise models of femininity and masculinity can be found in the symbolic materials (images, narratives, values, etc.) offered by media and in the forms of social interactions made possible either by ‘old’ and ‘new’ media. TV programmes, web contents, movies, newspapers, and magazines either directly and indirectly attribute different interests, attitudes, abilities to men and women. In so doing, media offer useful resources that we can use in developing our gender identity and sexual orientation, learning how to dress up, to behave, and to desire ‘as a woman’ or ‘as a man’. Yet media representations can also act as prescriptions that are likely to restrict individuals’ freedom and authenticity, to fuel unrealistic expectations, and to reinforce gender power system.
Drawing on these premises, first a definition of gender, sex and gender identity will be provided; the main approaches and theoretical contributions to studying the relation of media and gender identity will be illustrated; finally, we will focus on the analysis of media outputs, in order to individuate the most critical aspects: stereotyped/denigratory images of females and males; unrealistic representation of bodies and sexualities; invisibility of non-normative gender identities, couples, and families.
Special attention will be paid to the depiction of violence in the media, that constitutes a very breeding ground for exploring media construction of femininity, masculinity, and of intimate relations. Both factual (news, documentaries) and fictional (comics, TV series, movies) products will be taken into consideration, in order to analyze the discoursive production of victims and perpetrators, with particular regard to female violence.

Syllabus

1) The difference and the ‘invisible norm’. Some semiotic systems under analysis (during this lesson, students will be asked to spend a hour outside and take pictures following the instructor’s directions;
2) Byological Determinis, sex, gender, gender identity and roles;
3) Gender and the media: the evolution of theoretical approaches since the ‘70s onwards
4) Sex, gender and class in past and contemporary mainstream cinema; from ’Rocky 2’ to ’Honey 2’;
5) Heroines in male genres/contexts/roles: horror, sci-fi, western and crime;
6) Violent femmes: the ’rape-revenge motive’ in media popular culture;
7) Focus on Stieg Larsson’s Millennium Trilogy: men’s aggression and women’s response. A psychoanalytic reading;
8) Gender and violence in the news: ’ideal victims’ and ‘good girls’, ‘typical perpetrators’ and ‘bed men’ in TV broadcasts and press coverage of femicide.
9) Makeover television;
10) Advertising: men, women and the ‘heteronromative’ ideology.

• Elisa Giomi, Gender e Media. I Quaderni, Edizioni PGreco, Roma (in corso di stampa)
• Saveria Capecchi, Elisabetta Ruspini, Media, corpi, sessualità. Dai corpi esibiti al cyber sex, FrancoAngeli, Milano, 2009
Integrative teaching material will be made available on the www.mediastudies.it website

Black Hollywood on the Tiber: actors, production intersections, modes of representation. The course is intended to frame the image projected by Italian film on the United States, analyzing, through modes of production and representation, the role played by African American actors and characters - with different modalities, along the gender axes - in the progressive reconfiguration of this image.

BIBLIOGRAPHY
- L’Africa in Italia: Per una controstoria postcoloniale del cinema italiano, edited by Leonardo De Franceschi, Roma, Aracne editrice, 2013
- Joy Nwosu, Cinema e Africa: L'immagine dei neri nel cinema bianco e il primo cinema africano visti nel 1968, Roma, Aracne Editrice, 2014
- a reader of contributions, edited by the teacher

FILMOGRAPHY
Harlem (C. Gallone, 1943), Paisà, ep. Napoli (R. Rossellini, 1946), Without Pity (A. Lattuada, 1948), Il mulatto (F. De Robertis, 1950), Il nero (G. Vento, 1966), Faustina (L. Magni, 1968), Three Tough Guys (D. Tessari, 1974), Miracle in St. Anna (S. Lee, 2008). The list of films is under revision.

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
- "Una passione mai spenta. Maria Callas, studi e voci", a cura di Luca Aversano e Jacopo Pellegrini, ed. Quodlibet, Macerata 2016.


Additional materials for student non attending the lessons:
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.

Listening to the compositions and musical performances mentioned in the study materials is highly recommended.

The course develops aesthetic issues relating to synergies / discrepancies between sounds and movie pictures, starting from poetics of four Masters of the twentieth century.

Testoni, Marco, Musica e visual media, Audino Editore, Roma 2016 (as an alternative, MICELI, Sergio, Film music: history, aesthetic-analysis, typologies,
edited and translated by Marco Alunno, Braunwin Sheldrick, Milano Ricordi - Lucca LIM, 2013

Two books among the following (three for not attending lessons):
L'altro Novecento di Nino Rota, a cura di Daniela Tortora, Edizioni del Conservatorio di Musica San Pietro a Majella, Napoli 2014
Nino Rota: un timido protagonista del Novecento musicale, a cura di Francesco Lombardi, EDT, Torino 2012

Musica che affronta il silenzio: scritti su Tōru Takemitsu, a cura di Gianmario Borio e Luciana Galliano, Pavia University Press, Pavia 2010

Morte a Venezia. Thomas Mann-Luchino Visconti: un confronto, a cura di Francesco Bono, Luigi Cimmino, Giorgio Pangaro, Rubbettino, Soveria Mannelli 2014
ZURLETTI, Sara, Amore luminoso, ridente morte. Il mito di Tristano nella morte a Venezia di Thomas Mann, Castelvecchi, Roma 2016

KUBRICK, Stanley, Non ho risposte semplici: il genio del cinema si racconta, a cura di Gene D. Phillips, Minimum fax, Roma 2015
EUGENI, Ruggero, Invito al cinema di Stanley Kubrick, Mursia, Milano 2014

Emigration, Migration and Embodied History

“The 'classical' does not concern only the past: it is also concerned with the present and a vision of the future” (Settis). The program compares the Italian school and repertory in Russia (Italian dancers’ emigration across 19th-20th centuries); the relationship between the idealized dancing body ("Bella Figura") and the patterns of individual human movements across the world’s stage, in the era of world migration.

3 Obligatory Texts
1. C. Lo Iacono, Il danzatore attore, Dino Audino editore, Rome 2007
2. C. Lo Iacono, Il volo della Tersicore russa. Una storia per immagini (1636 - 2009), Massimiliano Piretti Editore, Bologna (to be published, 2016/2017)
3. E. Guzzo Vaccarino, Danze plurali/l’altrove qui, Ephemeria, Macerata 2009.

Videography: at least 6 videos or films to be chosen from the list below (remember to book ahead at our Videoteca, via Ostiense 139)
Giselle (chor. M. Ek); or Sleeping Beauty (chor. M. Ek);
Smoke (chor. M. Ek, int. S. Guillem);
Pétrouchka (chor. Fokin) or Les Noces (chor. B. Nijinska);
Le Sacre du Printemps [The Rite of Spring], chor. Nijinsky and Pina Bausch versions; Ahnen, Ahnen, chor. Pina Bausch; or Pina3D by W. Wenders;

Optional, regarding philological reconstructions of the repertoire, the comparison between the two versions of Raymonda, mus. Glazunov: Bolshoi Theatre (int. N. Bessmertnova) and Teatro alla Scala (int. A. Novikova). See also Sylvie Guillem au travail (Raymonda, chor. Noureev/Nureyev) in the box set by A. Labarthe, La danse au travail (2012).

For non attending students, in addition: Apollo’s Angels: a History of Ballet, Random House, New York, 2010

ORAL EXAM

EMAIL: concetta.loiacono@uniroma3.it

LESSONS: II semester (II period)

NELL'ANNO ACCADEMICO 2016-17 IL CORSO E' MUTUATO DA "MEDIA DIGITALI: TELEVISIONE, VIDEO, INTERNET".

NELL'ANNO ACCADEMICO 2016-17 IL CORSO E' MUTUATO DA "MEDIA DIGITALI: TELEVISIONE, VIDEO, INTERNET".

Re-viewing Frank Capra's films, the students will appreciate a Master of the classic American cinema besides the stereotypes he was studies with.

Vito Zagarrio, The Un-Happy Ending. Re-viewing the cinema of Frank Capra, New York: Bordighera Press, 2011
Veronica Pravadelli, Classic Hollywood. Lifestyles and Film Styles of American Cinema 1930-1960, University of Illinois Press, Champaign 2015

A focus on Gillo Pontecorvo's cinema.

Ivelise Perniola- Gillo Pontecorvo o del cinema necessario. ETS, Pisa, 2016
Lino Miccichè, Filmologia e filologia, Marsilio, Venezia, 2004

Cinema, video, photography as form of counter-power in the Italy of Seventies.

C. Uva, L'immagine politica. Forme del contropotere tra cinema, video e fotografia nell'Italia degli anni Settanta, Mimesis, Milano, 2015.

E. Taviani (a cura di), Italia 1977. Crocevia di un cambiamento, numero monografico di «Cinema e Storia. Rivista di studi interdisciplinari», n. 1/2014 (Rubbettino Editore).

Other texts available here: http://christianuva.jimdo.com/cinema-e-storia-laurea-magistrale/

The course presents different aspects of historical research methodology, understood both as a set of operational tools and techniques, and as an historical theory. It examines the concept of the World 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)

Black Hollywood on the Tiber: actors, production intersections, modes of representation. The course is intended to frame the image projected by Italian film on the United States, analyzing, through modes of production and representation, the role played by African American actors and characters - with different modalities, along the gender axes - in the progressive reconfiguration of this image.

BIBLIOGRAPHY
- L’Africa in Italia: Per una controstoria postcoloniale del cinema italiano, edited by Leonardo De Franceschi, Roma, Aracne editrice, 2013
- Joy Nwosu, Cinema e Africa: L'immagine dei neri nel cinema bianco e il primo cinema africano visti nel 1968, Roma, Aracne Editrice, 2014
- a reader of contributions, edited by the teacher

FILMOGRAPHY
Harlem (C. Gallone, 1943), Paisà, ep. Napoli (R. Rossellini, 1946), Without Pity (A. Lattuada, 1948), Il mulatto (F. De Robertis, 1950), Il nero (G. Vento, 1966), Faustina (L. Magni, 1968), Three Tough Guys (D. Tessari, 1974), Miracle in St. Anna (S. Lee, 2008). The list of films is under revision.

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
- "Una passione mai spenta. Maria Callas, studi e voci", a cura di Luca Aversano e Jacopo Pellegrini, ed. Quodlibet, Macerata 2016.


Additional materials for student non attending the lessons:
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.

Listening to the compositions and musical performances mentioned in the study materials is highly recommended.

The course develops aesthetic issues relating to synergies / discrepancies between sounds and movie pictures, starting from poetics of four Masters of the twentieth century.

Testoni, Marco, Musica e visual media, Audino Editore, Roma 2016 (as an alternative, MICELI, Sergio, Film music: history, aesthetic-analysis, typologies,
edited and translated by Marco Alunno, Braunwin Sheldrick, Milano Ricordi - Lucca LIM, 2013

Two books among the following (three for not attending lessons):
L'altro Novecento di Nino Rota, a cura di Daniela Tortora, Edizioni del Conservatorio di Musica San Pietro a Majella, Napoli 2014
Nino Rota: un timido protagonista del Novecento musicale, a cura di Francesco Lombardi, EDT, Torino 2012

Musica che affronta il silenzio: scritti su Tōru Takemitsu, a cura di Gianmario Borio e Luciana Galliano, Pavia University Press, Pavia 2010

Morte a Venezia. Thomas Mann-Luchino Visconti: un confronto, a cura di Francesco Bono, Luigi Cimmino, Giorgio Pangaro, Rubbettino, Soveria Mannelli 2014
ZURLETTI, Sara, Amore luminoso, ridente morte. Il mito di Tristano nella morte a Venezia di Thomas Mann, Castelvecchi, Roma 2016

KUBRICK, Stanley, Non ho risposte semplici: il genio del cinema si racconta, a cura di Gene D. Phillips, Minimum fax, Roma 2015
EUGENI, Ruggero, Invito al cinema di Stanley Kubrick, Mursia, Milano 2014

Emigration, Migration and Embodied History

“The 'classical' does not concern only the past: it is also concerned with the present and a vision of the future” (Settis). The program compares the Italian school and repertory in Russia (Italian dancers’ emigration across 19th-20th centuries); the relationship between the idealized dancing body ("Bella Figura") and the patterns of individual human movements across the world’s stage, in the era of world migration.

3 Obligatory Texts
1. C. Lo Iacono, Il danzatore attore, Dino Audino editore, Rome 2007
2. C. Lo Iacono, Il volo della Tersicore russa. Una storia per immagini (1636 - 2009), Massimiliano Piretti Editore, Bologna (to be published, 2016/2017)
3. E. Guzzo Vaccarino, Danze plurali/l’altrove qui, Ephemeria, Macerata 2009.

Videography: at least 6 videos or films to be chosen from the list below (remember to book ahead at our Videoteca, via Ostiense 139)
Giselle (chor. M. Ek); or Sleeping Beauty (chor. M. Ek);
Smoke (chor. M. Ek, int. S. Guillem);
Pétrouchka (chor. Fokin) or Les Noces (chor. B. Nijinska);
Le Sacre du Printemps [The Rite of Spring], chor. Nijinsky and Pina Bausch versions; Ahnen, Ahnen, chor. Pina Bausch; or Pina3D by W. Wenders;

Optional, regarding philological reconstructions of the repertoire, the comparison between the two versions of Raymonda, mus. Glazunov: Bolshoi Theatre (int. N. Bessmertnova) and Teatro alla Scala (int. A. Novikova). See also Sylvie Guillem au travail (Raymonda, chor. Noureev/Nureyev) in the box set by A. Labarthe, La danse au travail (2012).

For non attending students, in addition: Apollo’s Angels: a History of Ballet, Random House, New York, 2010

ORAL EXAM

EMAIL: concetta.loiacono@uniroma3.it

LESSONS: II semester (II period)

NELL'ANNO ACCADEMICO 2016-17 IL CORSO E' MUTUATO DA "MEDIA DIGITALI: TELEVISIONE, VIDEO, INTERNET".

NELL'ANNO ACCADEMICO 2016-17 IL CORSO E' MUTUATO DA "MEDIA DIGITALI: TELEVISIONE, VIDEO, INTERNET".

Re-viewing Frank Capra's films, the students will appreciate a Master of the classic American cinema besides the stereotypes he was studies with.

Vito Zagarrio, The Un-Happy Ending. Re-viewing the cinema of Frank Capra, New York: Bordighera Press, 2011
Veronica Pravadelli, Classic Hollywood. Lifestyles and Film Styles of American Cinema 1930-1960, University of Illinois Press, Champaign 2015

FILM CRITICISM WORKSHOP

Program

Film criticism is not taught, it is learned and it is practiced by watching films and discussing them.
The Workshop is based essentially on exercizes and interactions.

Exercize 1. Seeing the film.
From sacred viewing to multiform viewing (new platforms, new habits, new viewers).
To orient oneself critically in the contemporary chaos of images: to make order, to distinguish, simply “to see”.
Evolution and diversification in writing criticism.

Exercize 2. Analyzing film.
Notes on some methodological and analytical tools: formalism, structuralism, semiology, psychoanalysis (manifest content and latent content).
Description and evaluation. Text and context. The reality represented and the representation of reality. Criticism as a form of thought.

Exercize 3. Verbalizing judgment.
Content, structure, form, finalization. At the service of the work, from the viewer’s point of view.
Against criticism of taste (Galvano Della Volpe), against interpretation (Susan Sontag), against sociologism, aesthetic mysticism, idealism.
Critical models and the system of reference.

Exercize 4. Of prejudice and novelty.
Auteur cinema and so-called commercial film (genres).
Greta Garbo vs Doris Day.
TV series (new forms, new dramaturgy, new expectations).

Exercize 5. Specialization and contamination.
Specialist criticism and multidisciplinary criticism.
From the filmic specifics to postmodernism.
From André Bazin’s ‘What is Cinema?’ to the films to come.