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)

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

The course is devoted to the cinema of Pier Paolo Pasolini. The main themes and the most recurring figures in his filmography are examined. The relationship between cinema and literature is addressed, the director's working method is highlighted and the various moments of his artistic career are reviewed, from the first film (Accattone) to the last (Salò or the 120 days of Sodom). In-depth stylistic analyzes of his works are carried out. Particular attention is paid to Pasolini's theoretical writings on cinema.

TEXTS: Pier Paolo Pasolini, Empirismo eretico, Garzanti, Milano 1972 and later editions (only sections devoted to cinema); Serafino Murri, Pier Paolo Pasolini, Il Castoro, Milano 1994 and later editions; Stefania Parigi, Pier Paolo Pasolini. Accattone, Lindau, Torino 2021.
FILMOGRAPHY: Accattone, 1961; Mamma Roma, 1962; La ricotta,1963; La rabbia, 1963; Comizi d’amore, 1964; Il Vangelo secondo Matteo, 1964; Uccellacci e uccellini, 1966; La terra vista dalla luna, 1967; Che cosa sono le nuvole?, 1968; Edipo re, 1967; Teorema, 1968; La sequenza del fiore di carta, 1969; Appunti per un'Orestiade africana, 1968-1973; Salò o le 120 giornate di Sodoma, 1975.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course 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.

The course will be offered in English

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. Students who do not speak Italian can substitute it with: J. Menne, Francis Ford Coppola, Chicago, University of Illinois Press, 2014.

Deconstructing and reconstructing narratives: sculpture in contemporary era

The course focuses on the renewal of sculpture from the second half of the 1960s to today, following the passage from the object, as a self-contained, immutable form, to the environment and the action, as a self-contained, immutable form, to the environment and the action, taken as a new relationship established between the sculptural project and the body, nature and public space. In the first part of the course, parallel to the analysis of procedural, antiform and poverist artistic practices, attention will be focused on some paradigmatic exhibition events held in the second half of the 1960s; international exchanges and contacts between the European and American artistic context will be outlined; the contemporary critical debate will be analyzed, in order to outline the main moments of discussion in which the very definition of sculpture is put in crisis, between processuality and dematerialization. In the second part, attention will also be paid to the problems concerning the installation and the relationship between the sculptural gesture, new media and feminist instances.

1) R. Krauss, Passaggi. Storia della scultura da Rodin alla Land Art, Postmedia, Milano 2020

2) C. Zambianchi, “Oltre l’oggetto”. Qualche considerazione su arte povera e performance, in “Ricerche di storia dell’arte”, n. 114, 2014, pp. 35-45 [PDF fornito dalla docente]

3) S. Zuliani, Senza cornice. Spazi e tempi dell’installazione, Critical Ground #4, Arshake, Roma 2015, pp. 13-75
http://www.arshake.com/wp-content/uploads/2015/07/Critical-Grounds-04-Stefania-Zuliani-Senza-Cornice.pdf

4) A text selected:

- F. Stevanin, Fotografia, film e video nella Land Art, CLEUP, Padova 2017
- A. Acocella, Avanguardia diffusa. Luoghi di sperimentazione artistica in Italia 1967-1970, Quodlibet, Macerata 2016
- L. Conte, F. Gallo (a cura di), Artiste italiane e immagini in movimento. Identità, sguardi, sperimentazioni, Mimesis, Milano 2021
- M.R. Sullivan, Sculptural Materiality in the Age of Conceptualism. International Experiments in Italy, Routledge, New York 2017
- C. Baldacci, C. Ricci, Quando è scultura, et al edizioni, Milano 2010

5) Monographic text on an artist analyzed and to to be agreed with the Professor.

The course is divided into two parts.
The first part describes the main developments in the social, political, cultural, economic and technological environment, with particular attention to the urban dimension and territories, placing the performing arts in the perimeter of the tangible and intangible cultural resources, in order to provide, using multiple reading keys, a critical knowledge of the scenarios and fields of action and interaction.
In the second part, starting from the cultural planning approaches and from measurement legacy (outcomes, impacts), are investigated the various design platforms and opportunities with which the theatrical and performing arts organization can contribute to urban revitalization, regeneration spaces, social innovation and collaborative practices.
The course will use case studies, including international, with particular regard to ECoC (European Capital of Culture), the Italian Capital of Culture, the UNESCO creative cities.

For attending students and for non-attending students:

Lucio Argano "Guida alla progettazione della città culturale" editore FrancoAngeli, Milan, 2021

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 (2020), 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.

GENIUS LOCI. ART AND ITALIAN IDENTITY

Over the course of the 20th century, Italy sought its own cultural center of gravity: an identity capable of solving its relation to a modernity perceived by many—in schizophrenic fashion—both as a disruptive force, and as an indispensable element of any self-definition. Reference to a cultural heritage that is as incomparable as it is unsteady and contradictory has sometimes condensed around the notion of genius loci, a concept which has come to represent, especially in the visual arts field, a kind of fantastical answer to questions about the identity of Italian art. This book reconstructs a genealogy of the genius loci, connecting moments of Italian history, from the post-unification creation of a national art history to Fascism, from the Eighties to the present day. It provides both a reliable account and a critical reading of the fortunes of this idea. At stake in this non-linear genealogy of discourses, memories, and imaginings is the cultural and inevitably political self-recognition of contemporary Italy.

Stefano Chiodi, Genius Loci. Anatomia di un mito italiano, Quodlibet, Macerata 2021

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 (2020), 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 is devoted to the cinema of Pier Paolo Pasolini. The main themes and the most recurring figures in his filmography are examined. The relationship between cinema and literature is addressed, the director's working method is highlighted and the various moments of his artistic career are reviewed, from the first film (Accattone) to the last (Salò or the 120 days of Sodom). In-depth stylistic analyzes of his works are carried out. Particular attention is paid to Pasolini's theoretical writings on cinema.

TEXTS: Pier Paolo Pasolini, Empirismo eretico, Garzanti, Milano 1972 and later editions (only sections devoted to cinema); Serafino Murri, Pier Paolo Pasolini, Il Castoro, Milano 1994 and later editions; Stefania Parigi, Pier Paolo Pasolini. Accattone, Lindau, Torino 2021.
FILMOGRAPHY: Accattone, 1961; Mamma Roma, 1962; La ricotta,1963; La rabbia, 1963; Comizi d’amore, 1964; Il Vangelo secondo Matteo, 1964; Uccellacci e uccellini, 1966; La terra vista dalla luna, 1967; Che cosa sono le nuvole?, 1968; Edipo re, 1967; Teorema, 1968; La sequenza del fiore di carta, 1969; Appunti per un'Orestiade africana, 1968-1973; Salò o le 120 giornate di Sodoma, 1975.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course 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

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.

The course will be offered in English

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. Students who do not speak Italian can substitute it with: J. Menne, Francis Ford Coppola, Chicago, University of Illinois Press, 2014.

The course is divided into two parts.
The first part describes the main developments in the social, political, cultural, economic and technological environment, with particular attention to the urban dimension and territories, placing the performing arts in the perimeter of the tangible and intangible cultural resources, in order to provide, using multiple reading keys, a critical knowledge of the scenarios and fields of action and interaction.
In the second part, starting from the cultural planning approaches and from measurement legacy (outcomes, impacts), are investigated the various design platforms and opportunities with which the theatrical and performing arts organization can contribute to urban revitalization, regeneration spaces, social innovation and collaborative practices.
The course will use case studies, including international, with particular regard to ECoC (European Capital of Culture), the Italian Capital of Culture, the UNESCO creative cities.

For attending students and for non-attending students:

Lucio Argano "Guida alla progettazione della città culturale" editore FrancoAngeli, Milan, 2021

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)

Theme of this year's course: Culture, habitat, environment

1. A textbook for the general part:
Dov'è e dove va l'antropologia oggi, a cura di Antonio Palmisano, Milano, Franco Angeli.

2. The monographic part includes:
Stefano de Matteis, La forza della vulnerabilità, Milano, Meltemi.

The intertwining between individual and collective life. The action of individuals and their symbolic importance. The use of procedural interpretation in order to read the complexity of everyday life. The limits of globalization.

Ethnographical cases. Writing cultures. Methods and techniques. Anthropological movies and documentaries.

Symbolic Anthropology. A reader in the Study if Symbols and Meaning, edited by Jeanet L. Dolgin, David S. Kemnitzir and David M. Schneider
NY, Columbia University Press, 1977.

The course aims to provide students with the tools of film grammar, through the analysis of the forms of the mise en scene, i.e. the authorial strategies, the style also linked to the production dynamics and the historical context. Through a review of the history of cinema, the course offers a theoretical tool on how to analyse the film.

V. Zagarrio, Francis Ford Coppola. Un sogno lungo il cinema, Soveria Mannelli, Rubbettino, 2020.

V. Zagarrio (cura di), Per Kubrick. Storia romanzo sguardi, Roma, Dino Audino, 2020.

V. Zagarrio, A occhi chiusi e spalancati. La regia in Stanley Kubrick, Roma, Dino Audino, 2021.

Theme of this year's course: Culture, habitat, environment

1. A textbook for the general part:
Dov'è e dove va l'antropologia oggi, a cura di Antonio Palmisano, Milano, Franco Angeli.

2. The monographic part includes:
Stefano de Matteis, La forza della vulnerabilità, Milano, Meltemi.

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

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.

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 course aims to provide students with the tools of film grammar, through the analysis of the forms of the mise en scene, i.e. the authorial strategies, the style also linked to the production dynamics and the historical context. Through a review of the history of cinema, the course offers a theoretical tool on how to analyse the film.

V. Zagarrio, Francis Ford Coppola. Un sogno lungo il cinema, Soveria Mannelli, Rubbettino, 2020.

V. Zagarrio (cura di), Per Kubrick. Storia romanzo sguardi, Roma, Dino Audino, 2020.

V. Zagarrio, A occhi chiusi e spalancati. La regia in Stanley Kubrick, Roma, Dino Audino, 2021.

From the origins, cinema has been inspired by historical contents and events for its productions. The public has always shown keen curiosity and interest in historical events narrated on the screen. The course aims to show how cinema can be: a source for historical knowledge, an instrument to tell the past and an agent of history. Cinema is a source for the historical knowledge of the present in which the film has been shot and processed: it provides us with information on ideas and values of the producing society.

On the other hand, when we talk about cinema as an instrument to narrate the past, we refer to the public use of history, a field in which historians have to compete with other professional figures.
Finally, cinema can be considered an agent of history when studying its capability to influence and construct behaviours, trends, passions and identities.
Understanding the various languages and representations can be an essential tool for historians working in the field of cultural and social history interested in the transmission of values, ideas and representations of the historical past of different eras.

The course focuses on representation on cinema and television and in particular on the following topic: “Times of crisis. War, violence and society ".
War and violence are phenomena that goes along with human societies throughout their own development, therefore the course questions the specific aspects of representations and imagery linked to different eras. A conspicuous number of films will be examined and each student will be able to identify their own path by selecting from those indicated, ten films of their own interest.
To this end, the following films and products for television will be analysed; students will have to see and analyse 10 of the following films.
The teaching is organised in seminars, the students will work in teams by deepening topics, readings and ideas related to the films indicated and to a bibliography agreed with the teacher.

Antiquity
• R. Scott, Gladiator (2000)
• W. Petersen, Troy (2004)
• M. Rovere, The First King (2019)

Middle Age
• M. Gibson, Braveheart (1995)
• R. Scott, Kingdom of Heaven (2005)
• L. Bresson, The Trial of Joan of Arc (1962)
• M. Bellocchio, Enrico IV (1984)


Early modern period
• W. Herzog, Aguirre, the Wrath of God (1972)
• S. Kubrick, Barry Lyndon (1975)
• R. Joffé, The Mission (1986)
• R. Emmerich, The Patriot (2000)
• P. Weir, Master and Commander: The Far Side of the World (2004)
• S. McQueen, 12 Years a Slave (2013)
• M. Scorsese, Silence (2016)

Late modern period and Contemporary history
• L. Comencini, Everybody Go Home (1960)
• N. Loy, The Four Days of Naples (1962)
• F. Ford Coppola, Apocalypse now (1979)
• C. Nolan, Dunkirk (2017)
• J. Wright, Darkest Hour (2018)
• S. Mendes, 1917 (2019)

Readings for the exam:

A) Both the books:

• Cortini L. (a cura di), Le fonti audiovisive per la storia e la didattica, Effigi, Arcidosso, 2014, pp. 39-60; 97-118
• A. Scurati, Guerra. Narrazioni e culture nella tradizione occidentale, Donzelli, Roma 2003.

B) One book of your choice between:

• Iaccio P., Cinema e storia. Percorsi, immagini, testimonianze, Liguori, Napoli 2000
• Miro Gori G. (a cura di), La storia al cinema. Ricostruzione del passato e interpretazione del presente, Bulzoni, Roma, 1994
• Ortoleva P., Cinema e storia. Scene dal passato, Loescher, Torino, 1991
• Sorlin P., I figli di Nadar, Einaudi, Torino, 2000
• Munslow A., Narrative and History, Palgrave Macmillan, Houndmills, 2007

For historical contextualization, it is recommended reading one of the following texts (available at public libraries), to which can be added other texts chosen by the student:

• Cicognetti L., Servetti L. (a cura di), Sorlin P. (a cura di), La guerra in televisione. I conflitti moderni tra cronaca e storia, Bologna-Venezia, Istituto storico Parri per l’Emilia Romagna-Marsilio 2003.
• Feci S., Schettini L. (a cura di), La violenza contro le donne nella storia: contesti, linguaggi, politiche del diritto (secoli 15.-21.), Roma, Viella, 2017
• Gozzini G., P. Masciullo (a cura di), La guerra delle immagini nel 21. secolo: cinema, televisione e web, Soveria Mannelli : Rubettino, 2020 (Fa parte di: Cinema e storia : rivista di studi interdisciplinari)
• Gruzinski S., La guerra delle immagini. Da Cristoforo Colombo a Blade Runner, SugarCo, 1991
• Lavenia V., Il catechismo dei soldati: guerra e cura d'anime in età moderna, Bologna, EDB, 2014
• Livi Bacci M., Conquista. La distruzione degli indios americani, Bologna, Società editrice il Mulino, 2005
• Pach C., "The War on Television: TV News, the Johnson Administration, and Vietnam," in A Companion to the Vietnam War, Blackwell Publishers, 2002
• Pellizzari P. (a cura di), Le armi e i cavalieri: la guerra e i suoi simboli dal Medioevo all'età moderna: atti della Giornata di studi, Torino, 12 febbraio 2018, Alessandria, Edizioni dell'Orso, 2018
• Todorov T., La conquista dell'America: il problema dell'altro, Torino, Einaudi, 2014
• Vaccaro L. (a cura di), L' Europa e l'evangelizzazione delle Indie Orientali, Milano, Centro ambrosiano, 2005.


Non-attending students must agree a program with the teacher by sending an email to: didattica.merluzzi@gmail.com

Analysis of the different currents of theatrical criticism from the early twentieth century to today. Methods of analysis of traditional theater and of the new forms of the theatricals Shows. Writing of texts, reviews, presentations.

Andrea Porcheddu - Roberta Ferraresi "Questo fantasma. Il critico a teatro" Titivillus, 2010
Massimo Marino " Lo sguardo che racconta" Carocci, 2004
Silvio d'Amico "La vita del teatro" Bulzoni, 1994
Roberto De Monticelli "L'educazione teatrale" Garzanti, 1986
Angelo Maria Ripellino "Siate buffi: cronache di teatro, circo e altre arti : l'Espresso, 1967-77" Bulzoni 1989

THE COURSE PRESENTS THE HISTORICAL EVOLUTION OF RELATIONS BETWEEN MUSIC, POETRY AND LITERATURE. GOAL OF THIS MODULE IS TO ANALYZE THE LINGUISTIC CHARACTERS OF MUSICAL EXPRESSION, REFLECTING ON THE (PRESUMED?) LOST ORIGINAL UNITY BETWEEN POETRY AND MUSIC

Reference texts being defined.

1. Introduction:
Educational approach
What is history of music
Objects of study
Research methodology
2. Educational methodologies:
Study of the works: didactic of listening
Study of musical context
History of music and others disciplines
Handbooks and their methodology
3. Educational approaches: in this part of the course will be presented some educational approaches, chronologically and methodologically different, in order to provide operational examples

Riflessione metodologica:
1. CRISTINA CANO, Didattica della Storia della Musica, «Musica/Realtà», XV, n. 45, dicembre 1994, pp. 89-115
2. CARL DAHLHAUS, Che significa e a quale fine si studia la storia della musica?, «Il Saggiatore musicale», XII, 2005, pp. 219-230
3. HANS HEINRICH EGGEBRECHT, La scienza come insegnamento, «Il Saggiatore Musicale», 2005, pp. 231-237
4. ANDREA CHEGAI, PAOLO RUSSO, La didattica della storia della musica, «Il Saggiatore musicale», XV, 2, 2008, pp. 269-279
5. ANTONIO SERRAVEZZA, L’educazione estetica alla musica, in Educazione musicale e Formazione, a cura di G. La Face Bianconi e F. Frabboni, Milano, FrancoAngeli, 2008, pp. 121-139
6. IVO MATTOZZI, Una didattica della storia per l’insegnamento della storia della musica, in Educazione musicale e Formazione, a cura di Giuseppina La Face Bianconi e Franco Frabboni, Milano, FrancoAngeli, 2008, pp. 346-378
7. FABRIZIO DELLA SETA, Musica nella storia e musica come storia, in Educazione musicale e Formazione, a cura di Giuseppina La Face Bianconi e Franco Frabboni, Milano, FrancoAngeli, 2008, pp. 379-386
8. LORENZO BIANCONI, La musica al plurale, in A. Nuzzaci – G. Pagannone, Musica Ricerca e Didattica. Profili culturali e competenza musicale, Lecce, Pensa Multimedia, 2008, pp. 23-32
9. PAOLO SOMIGLI, Didattica della musica. Un’introduzione, Roma, Aracne, 2013
Didattica dell’ascolto. Metodologia e proposte operative:
10. GIUSEPPINA LA FACE BIANCONI, “La trota” fra canto e suoni. Un percorso didattico, «Saggiatore musicale», XII, n. 1, 2005, pp. 77-123
11. GIUSEPPINA LA FACE BIANCONI, Le Pedate di Pierrot. Comprensione musicale e didattica dell’ascolto, in Musikerziehung. Erfahrungen und Reflexionen, a cura di Franz Comploi, Bressanone/Brixen, Weger, 2005, pp. 40-60
12. GIUSEPPINA LA FACE BIANCONI, La linea e la rete. La costruzione della conoscenza in un Quartetto di Haydn, in «Finché non splende in ciel notturna face». Studi in memoria di Francesco Degrada, a cura di Cesare Fertonani, Emilio Sala e Claudio Toscani, Milano, LED, 2009, pp. 225-250
13. GIUSEPPINA LA FACE BIANCONI, Testo e musica: leggere, ascoltare, guardare, «Musica Docta. Rivista digitale di Pedagogia e Didattica della Musica», II, 2012, pp. 31-54
14. CARLA CUOMO - MARIA ROSA DE LUCA, La trasposizione del sapere musicale nella formazione intellettuale, «Musica Docta. Rivista digitale di Pedagogia e Didattica della Musica», III, 2013, pp. 17-38
Further texts and handouts will be made available, together with their list, on the Moodle platform

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

The course will be made up of three sections:

- In the first part the course will present and analyse the principles of scenic composition through the new perspectives opened by the cognitive sciences and the theories of embodied cognition.
- Then, the works and the theories of Edward Gordon Craig will be analysed.
- In the last part the methodologies of scenic composition of the Odin Teatret and the theoretical writings of Eugenio Barba will be studied.

- Gabriele Sofia, “Le acrobazie dello spettatore. Dal teatro alle neuroscienze e ritorno”, Roma, Bulzoni, 2013.

- Edward Gordon Craig, “L’arte del teatro. Il mio teatro” a cura di Ferruccio Marotti, Cue Press, 2016.

- Selection of writings by Eugenio Barba. This document can be requested sending an email to gabriele.sofia@uniroma3.it


FOR NON-ATTENDING STUDENTS

- Eugenio Barba, “La Canoa di Carta. Trattato di Antropologia teatrale”, Bologna, Il Mulino, 1993.

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 2021 [provisional title, volume in course of publication]
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra).


Lecture notes and materials by the teacher available on the course website http://www.teorieepratichedelladanza.it/ or on Teams

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

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

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.

The course will be offered in English

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. Students who do not speak Italian can substitute it with: J. Menne, Francis Ford Coppola, Chicago, University of Illinois Press, 2014.

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.

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 2021 [provisional title, volume in course of publication]
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra).


Lecture notes and materials by the teacher available on the course website http://www.teorieepratichedelladanza.it/ or on Teams

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

Starting with an examination of Stéphane Mallarmé's work in prose and verse, the course proposes a close analysis of the texts, placing these works within their historical-literary context.

Mallarmé, Poesie e prose, tr. A. Guerrini – V. Ramacciotti, Garzanti, 2005
Mallarmé, Poesie, tr. C. De Carolis, Marsilio, 2017
M. Luzi, Studio su Mallarmé, Solfanelli, 2018.
J.-P. Sartre, Mallarmé, Diabasis, 2010.

This is an introductive course to sociolinguistics. The epistemological setting of this branch of knowledge will be discussed, and its basic elements and tools will be introduced. Specific attention will be paid to two major sociolinguistic approaches, i.e. correlational and interactional sociolinguistics.

Berruto, G. – M. Cerruti, (2019), II ed., Manuale di sociolinguistica, Torino, UTET

Additional material will be provided during the course.

The course is devoted to the cinema of Pier Paolo Pasolini. The main themes and the most recurring figures in his filmography are examined. The relationship between cinema and literature is addressed, the director's working method is highlighted and the various moments of his artistic career are reviewed, from the first film (Accattone) to the last (Salò or the 120 days of Sodom). In-depth stylistic analyzes of his works are carried out. Particular attention is paid to Pasolini's theoretical writings on cinema.

TEXTS: Pier Paolo Pasolini, Empirismo eretico, Garzanti, Milano 1972 and later editions (only sections devoted to cinema); Serafino Murri, Pier Paolo Pasolini, Il Castoro, Milano 1994 and later editions; Stefania Parigi, Pier Paolo Pasolini. Accattone, Lindau, Torino 2021.
FILMOGRAPHY: Accattone, 1961; Mamma Roma, 1962; La ricotta,1963; La rabbia, 1963; Comizi d’amore, 1964; Il Vangelo secondo Matteo, 1964; Uccellacci e uccellini, 1966; La terra vista dalla luna, 1967; Che cosa sono le nuvole?, 1968; Edipo re, 1967; Teorema, 1968; La sequenza del fiore di carta, 1969; Appunti per un'Orestiade africana, 1968-1973; Salò o le 120 giornate di Sodoma, 1975.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course 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

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 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.

The course will be offered in English

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. Students who do not speak Italian can substitute it with: J. Menne, Francis Ford Coppola, Chicago, University of Illinois Press, 2014.

In this course, the impact of technologies and digital media on the worlds of contemporary music will be considered from different theoretical-methodological viewpoints. In the first phase, digital musical cultures as concept and the dynamics of their formation will be focused. First of all reconsidering the transition from analogue to digital in the music both from a historical perspective, through a concise overview on the evolution and transformations of the music industry in the twentieth-century and in the first decades of the new millennium, both in a critical-analytical perspective, trying to understand and interpret these transformations in their repercussions and implications on the music industry as a system, but also on the relationship between music and communication and between music and society. Subsequently, other aspects related to the action of digital technologies on music will be examined in a historical-cultural key, paying attention to the fields of musical listening, musical creation in the field of contemporary art music, mediation of live music experience. With regard to the latter theme, a specific section of the course will be dedicated to the opera and the mediation of its performance through digital, from DVD to streaming.

1. Gianni Sibilla, Musica e media digitali. Tecnologie, linguaggi e forme sociali dei suoni, dal walkman all’iPod, Milano, Bompiani, 2010

2. Michael D. Smith – Raul Telang, Streaming, sharing, stealing. I big data e il futuro dell’intrattenimento, Roma, Minimum fax, 2019 [capitoli 2, 4, 6, 7, 10]

3. Raphaël Nowak, Music Listening Activities in the Digital Age. An Act of Cultural Participation through Adequate Music, «Leonardo Music Journal», 26 (2016), pp. 20-23

4. Giacomo Albert, Post-music: l’ibridazione delle forme audiovisive nel XXI secolo tra performance e tecnologia, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 55-87

5. Emanuele Senici, Il video d’opera “dal vivo”: testualizzazione e “liveness” nell’era digitale, «Il Saggiatore musicale», 16/2, (2009), pp. 273-312

6. Caitlin Vincent, Digital Scenography in Opera in the Twenty-First Century, London and New York, Routledge, 2022 [capitolo 2]

Non-attending students will also read:
Michael D. Smith – Raul Telang, Streaming, sharing, stealing. I big data e il futuro dell’intrattenimento, Roma, Minimum fax, 2019 [the whole book]

Introduction: What is music analysis. History of music analysis
Principal methodologies of music analysis
Exercises of phraseological analysis
Exercises of morphological analysis
Exercises of analysis of thematic derivation

CLEMENS KÜHN, Il linguaggio delle forme nella musica occidentale, Milano, Unicopli, 1987: part III (Musica e tempo), IV (Elementi strutturali della composizione), V (Melodia) and VI (Forma musicale e opera musicale)
IAN BENT – WILLIAM DRABKIN, Analisi musicale, Torino, EDT, 1990: chapters I (L’analisi musicale in generale) and IV (La metodologia dell’analisi)

The course aims to analyze the relationships between visual arts, sound and music from the second post-war period to the Sixties of the XX century. Starting from the deepening of the relationship between painting and music in the field of artistic research of abstract expressionism and the poetics of informal matter and signs, the attention will focus on the silence of John Cage in relation to the monochrome, to the dematerialization of the work and the “theatricality” of minimalism. With a transversal path, taking into account continuity and discontinuity between the historical avant-gardes and the neo-avant-garde season, the analysis will touch on behavioral-performative practices which, in various ways, have focused their poetics on the voice and on the corporal sounds, also in relation to the use of new technologies.

Frequentanti
1) Texts of a general character for the study of Postwar Art:
- C. Zambianchi, Arte contemporanea: dall’Espressionismo Astratto alla Pop Art, Carozzi, Milano, 2011

- F. Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003, pp. 36-221


2) In-depth readings:
- Art or sound, catalogo della mostra (Venezia, Fondazione Prada Ca’ Corner della Regina, 7 giugno – 8 novembre 2014), a cura di G. Celant, Fondazione Prada, Milano 2014 [in particolare i saggi: G. Celant, Dal plurilinguismo al multisensoriale; C. Cox, Vedere non è sentire. Sinestesia, anestesia e arte audiovisiva; L. Chessa, Un’orchestra metafisica. Una ricerca sulla ricostruzione degli intonarumori; R. Young, Così brutalmente forzata. La svolta del dopoguerra dalla musica al suono; E. de Visscher, Il silenzio come scultura musicale. John Cage e gli strumenti di 4’33’’; G. Dayal, Musica sperimentale e performance. David Tudor, John Cage e Merce Cunningham; Jo Applin, Rumore ottico. Il suono della scultura negli anni ’60; A. Licht, Il rumore della superficie. Rendere l’arte udibile nel XX Secolo; S. Menegoi, Sound Art? Arti visive e suono al passaggio fra anni ’70 e ’80; H. Rogers, Sinestesia distorta. Il video musicale e le arti visive ]

- P. Fameli, Il corpo risonante. Vocalità e gestualità nel Novecento, Campanotto Editore, Pasian di Prato (UD) 2013, pp. 43-84

Theme of this year's course: Culture, habitat, environment

1. A textbook for the general part:
Dov'è e dove va l'antropologia oggi, a cura di Antonio Palmisano, Milano, Franco Angeli.

2. The monographic part includes:
Stefano de Matteis, La forza della vulnerabilità, Milano, Meltemi.

The course aims to provide students with the tools of film grammar, through the analysis of the forms of the mise en scene, i.e. the authorial strategies, the style also linked to the production dynamics and the historical context. Through a review of the history of cinema, the course offers a theoretical tool on how to analyse the film.

V. Zagarrio, Francis Ford Coppola. Un sogno lungo il cinema, Soveria Mannelli, Rubbettino, 2020.

V. Zagarrio (cura di), Per Kubrick. Storia romanzo sguardi, Roma, Dino Audino, 2020.

V. Zagarrio, A occhi chiusi e spalancati. La regia in Stanley Kubrick, Roma, Dino Audino, 2021.

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

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.

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.

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.

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 aims to analyze the relationships between visual arts, sound and music from the second post-war period to the Sixties of the XX century. Starting from the deepening of the relationship between painting and music in the field of artistic research of abstract expressionism and the poetics of informal matter and signs, the attention will focus on the silence of John Cage in relation to the monochrome, to the dematerialization of the work and the “theatricality” of minimalism. With a transversal path, taking into account continuity and discontinuity between the historical avant-gardes and the neo-avant-garde season, the analysis will touch on behavioral-performative practices which, in various ways, have focused their poetics on the voice and on the corporal sounds, also in relation to the use of new technologies.

Frequentanti
1) Texts of a general character for the study of Postwar Art:
- C. Zambianchi, Arte contemporanea: dall’Espressionismo Astratto alla Pop Art, Carozzi, Milano, 2011

- F. Poli (a cura di), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003, pp. 36-221


2) In-depth readings:
- Art or sound, catalogo della mostra (Venezia, Fondazione Prada Ca’ Corner della Regina, 7 giugno – 8 novembre 2014), a cura di G. Celant, Fondazione Prada, Milano 2014 [in particolare i saggi: G. Celant, Dal plurilinguismo al multisensoriale; C. Cox, Vedere non è sentire. Sinestesia, anestesia e arte audiovisiva; L. Chessa, Un’orchestra metafisica. Una ricerca sulla ricostruzione degli intonarumori; R. Young, Così brutalmente forzata. La svolta del dopoguerra dalla musica al suono; E. de Visscher, Il silenzio come scultura musicale. John Cage e gli strumenti di 4’33’’; G. Dayal, Musica sperimentale e performance. David Tudor, John Cage e Merce Cunningham; Jo Applin, Rumore ottico. Il suono della scultura negli anni ’60; A. Licht, Il rumore della superficie. Rendere l’arte udibile nel XX Secolo; S. Menegoi, Sound Art? Arti visive e suono al passaggio fra anni ’70 e ’80; H. Rogers, Sinestesia distorta. Il video musicale e le arti visive ]

- P. Fameli, Il corpo risonante. Vocalità e gestualità nel Novecento, Campanotto Editore, Pasian di Prato (UD) 2013, pp. 43-84

Theme of this year's course: Culture, habitat, environment

1. A textbook for the general part:
Dov'è e dove va l'antropologia oggi, a cura di Antonio Palmisano, Milano, Franco Angeli.

2. The monographic part includes:
Stefano de Matteis, La forza della vulnerabilità, Milano, Meltemi.

The course aims to provide students with the tools of film grammar, through the analysis of the forms of the mise en scene, i.e. the authorial strategies, the style also linked to the production dynamics and the historical context. Through a review of the history of cinema, the course offers a theoretical tool on how to analyse the film.

V. Zagarrio, Francis Ford Coppola. Un sogno lungo il cinema, Soveria Mannelli, Rubbettino, 2020.

V. Zagarrio (cura di), Per Kubrick. Storia romanzo sguardi, Roma, Dino Audino, 2020.

V. Zagarrio, A occhi chiusi e spalancati. La regia in Stanley Kubrick, Roma, Dino Audino, 2021.

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

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.

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.

In this course, the impact of technologies and digital media on the worlds of contemporary music will be considered from different theoretical-methodological viewpoints. In the first phase, digital musical cultures as concept and the dynamics of their formation will be focused. First of all reconsidering the transition from analogue to digital in the music both from a historical perspective, through a concise overview on the evolution and transformations of the music industry in the twentieth-century and in the first decades of the new millennium, both in a critical-analytical perspective, trying to understand and interpret these transformations in their repercussions and implications on the music industry as a system, but also on the relationship between music and communication and between music and society. Subsequently, other aspects related to the action of digital technologies on music will be examined in a historical-cultural key, paying attention to the fields of musical listening, musical creation in the field of contemporary art music, mediation of live music experience. With regard to the latter theme, a specific section of the course will be dedicated to the opera and the mediation of its performance through digital, from DVD to streaming.

1. Gianni Sibilla, Musica e media digitali. Tecnologie, linguaggi e forme sociali dei suoni, dal walkman all’iPod, Milano, Bompiani, 2010

2. Michael D. Smith – Raul Telang, Streaming, sharing, stealing. I big data e il futuro dell’intrattenimento, Roma, Minimum fax, 2019 [capitoli 2, 4, 6, 7, 10]

3. Raphaël Nowak, Music Listening Activities in the Digital Age. An Act of Cultural Participation through Adequate Music, «Leonardo Music Journal», 26 (2016), pp. 20-23

4. Giacomo Albert, Post-music: l’ibridazione delle forme audiovisive nel XXI secolo tra performance e tecnologia, in La musica fra testo, performance e media. Forme e concetti dell’esperienza musicale, a cura di Alessandro Cecchi, Roma, NeoClassica, 2019, pp. 55-87

5. Emanuele Senici, Il video d’opera “dal vivo”: testualizzazione e “liveness” nell’era digitale, «Il Saggiatore musicale», 16/2, (2009), pp. 273-312

6. Caitlin Vincent, Digital Scenography in Opera in the Twenty-First Century, London and New York, Routledge, 2022 [capitolo 2]

Non-attending students will also read:
Michael D. Smith – Raul Telang, Streaming, sharing, stealing. I big data e il futuro dell’intrattenimento, Roma, Minimum fax, 2019 [the whole book]

About the voice
- basic notions of anatomy and physiology of the vocal organ
- breathing techniques for singing
- phonation, emission and management of the sung sound
- voices range classification
- basic criteria and methodologies for voice education, modulation and pitch
- singing and body expression

The Choir
- role of conductor/teacher
- children's cohir, women's choir, men's choir, mixed choir
- school choirs
- didactic objectives and training purposes
- choir as a collective musical instrument
- creation of an inclusive musical environment
- listening and performing
- musical score learning technics
- "a cappella" chorus and accompanied chorus
- choral acoustics
- psychology in musical behaviour and experience
- organization models for choral work

Consultation and direction
- choral repertoires
- choice and adaptation of the repertoire
- rhythmic, melodic and harmonic elements of the score
- music/sung text ratio
- the impromptu processing
- instrumental accompaniment
- elements of musical organology
- choral music and technology tools
- elements of choral conducting technique
- communicative strength of the conducting gesture: technical/concertative, interpretative, poetic nature
- executive practice

Choral singing and conducting practice

Bibliography and handouts will be indicated over the lessons.

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) Valentina Venturini, Raffaele Viviani. La compagnia, Napoli e l’Europa, Roma, Bulzoni, 2008 (escluso il cap. IV)
2) 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/)
3) Materiali a cura del docente (caricati nella sezione FILE del corso sulla piattaforma TEAMS)
4) FILM: La tavola dei poveri di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
5) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
[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) 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/)
3) Franca Angelini, Teatro e spettacolo nel primo Novecento, Bari-Roma, Laterza, 2009
4) FILM: La tavola dei poveri di A. Blasetti [https://www.youtube.com/watch?v=C51GiSPMxrU]
5) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
[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].