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

- Chun Wendy Hui Kyong, Programmed Visions. Software and Memory, The MIT Press, Cambridge MA, 2011.
- Parikka Jussi, What is Media Archeology?, Polity Press, Cambridge (UK), 2012.
- Schechner Richard, Performance Studies: An Introduction (Third Edition), Routledge, London and New York, 2013.
- Gatti Giuseppe, “Dispositivi del Sé” in Dispositivo. Un’archeologia della mente e dei media, Roma TrE-Press, 2019 (in course of publication).

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

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

The students will confront with case studies to be deepened and analysed.

The texts for not-attending students:
Ugo Fabietti, Vincenzo Matera, Etnografie. Scritture e rappresentazioni dell’antropologia, Carocci.

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

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


III: On the basis of the adopted point of view and of the language used, choice of technical shooting equipment, sound and crew necessary for the realization of the documentary film.

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

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

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


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


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


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


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


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

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

Bibliography:

1) Italo Calvino, Lezioni americane (Six Memos for the Next Millennium)
2) Walter Murch, In un batter d'occhi. Una prospettiva sul montaggio cinematografico nell'era digitale (In the Blink of an Eye: A Perspective on Film Editing, 2nd Edition)
3) Ivelise Perniola, L'era postdocumentaria.

Filmography:

- La scomparsa di mia madre (Beniamino Barrese, 2019)
- Normal (Adele Tulli, 2019)
- Selfie (Agostino Ferrente, 2019)
- Linfa (Carlotta Cerquetti, 2018)
- Fuocoammare (Gianfranco Rosi, 2016)
- Saro (Enrico Maria Artale, 2016)
- 1960 (Gabriele Salvatores, 2010)

Antonietta De Lillo's filmography:

- Il Resto di Niente (2004)
- Let's Go (2014)
- OGGI INSIEME DOMANI ANCHE film partecipato (2015)
- Metamorfosi napoletane (2018)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I TEACHING MODULE (6CFU)
Title: Modern History Institutions
The lessons will focus mainly on the following topics: Europe and its interrelation with non-European worlds; Crisis and identity of modern Italy; Humanism and the Renaissance; Protestant Reformation and Catholic Counter-Reformation; The ancient regime society: classes and classes; Economic models: the land, work, finance and the market in the modern age; Political systems and their dynamics: empire, monarchies and republics; Family and demography; Literacy and culture; The birth of modern science; Enlightenment and reforms; The first industrial revolution; The American Revolution and the birth of the United States; French Revolution; the Napoleonic Age and the Europe of nations.

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

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

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

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

II MODULO (6 CFU)

Testi d’esame (A+B)

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

B. Un testo a scelta tra i seguenti :

1) L’uomo del Rinascimento, a cura di E. Garin, Roma-Bari, Laterza,
2) A. Tenenti, L’Italia del Quattrocento. Economia e società, Roma-Bari, Laterza
3)R. von Albertini, Firenze dalla Repubblica al principato. Storia e coscienza politica, Torino, Einaudi
4) F. Chabod, Scritti sul Rinascimento, Torino, Einaudi (pp.1-239)
5) J. Burckhardt, La civiltà del Rinascimento in Italia ,Firenze, Sansoni
6) E. Bonora, Aspettando l’imperatore. Principi italiani tra il papa e Carlo V, Torino, Einaudi
7) M. Pellegrini, Il papato nel Rinascimento, Bologna, Il Mulino
8)Niccolò Machiavelli, Il principe, Torino, Einaudi , (o Milano,Garzanti)
9) Francesco Guicciardini, Storia d’Italia (1490-1534), 3 voll.(un volume a scelta), Torino, Einaudi, (o Milano, Mondadori)
10)Baldassar Castiglione, Il libro del cortegiano, Milano, Rizzoli

PAINTING AND SCULPTURE IN ITALY (1400-1700)

The knowledge of art and artistic movements in Italy from early Renaissance to Neoclassicism is the aim of the course. This goal can be achieved by analysing the style of the works of art and their history, patronage, meaning in the society in which they were born. Therefore a visive knowledge of paintings and sculptures is strictly requested.
The course will begin with some general lectures about artistic movements and different approaches to history of art.
Studying the manual is just the first step of preparing the exam. The knowledge of the complete work of the most important artists is also requested and therefore students can be helped get in touch with the whole oeuvre of artists by the website (I suggest www.wga.hu). Maestri del Colore or Classici dell’arte Rizzoli can be useful as well. During the course some subjects will be developed and it’s very important to learn them through the slides which can be found at www.bit.ly/dsu-terzaghi at the end of the course.
In any case the most important way of learning visual art is getting in real touch with works of art by visiting them. Therefore there’s a list of monuments in Rome to be visited before the exam, which could be found in the slides.
Students attending the course can take a written exam at mid term and at the end of the term. These two written exams will be part of the final one.
Bibliography for attending and non attending students is the same. The latter absolutely need to get the course’s slides which can be found here www.bit.ly/dsu-terzaghi at the end of the course.
Students attending a 6 CFU course must study from 1400 to Leonardo included.

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

2) READING ONE OF THE FOLLOWING TEXTS IS REQUESTED:

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

Saussure, Wittgenstein, Chomsky: three perspectives in comparison

F. de Saussure, Corso di linguistica generale, Laterza. Limited to the following parts:
Introduction, chap. II-V; Part One. General principles, chapters I-III (of chapter III only paragraphs 1 and 4); Part two. Synchronous Linguistics, chapters I-VI; Part Three. Diachronic linguistics, chap. IV-V.

L. Wittgenstein, Ricerche filosofiche, Einaudi. Limited to the following parts:
Preface by the author; §§ 1-32, 65-98, 198-207, 243-265. For students who do not attend, it is advisable to consult the book by Marco Mazzeo, Le onde del linguaggio. A guide to philosophical research by Wittgenstein, Carocci.

N. Chomsky, Linguaggio e problemi della conoscenza, il Mulino. imited to the following parts: first, second (up to page 45), fifth and sixth chapters.

The course will be structured in two distinct parts: a first part will address the history of documentary cinema from its origins to the contemporary, through the study of movements, currents, authors and trends. The second part instead focuses on the theme of iconoclastic cinema, that is, it will develop through a path of analysis of all those authors and those works that have denied the image in the cinema of reality, for ideological reasons, social, political, artistic or cultural. The course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.

Program- Cinematografia documentaria (A. A. 2019-20)

Bibliography:
Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Maria Cristina Lasagni, Nanook cammina ancora. Il cinema documentario: storia e teoria, Bruno Mondadori, Milano, 2014



Attention: the examination filmography following the coronavirus emergency could be subject to changes.



FIlmography:

Marguerite Duras, L'Homme atlantique (1981)
Derek Jarman, Blue (1993)
Guy Debord, Hurlements en faveur de Sade (1952)
Claude Lanzmann, Sobibor, 14 ottobre 1943, ore 13. (2001)
Dziga Vertov, L'uomo con la macchina da presa (1929)
Werner Herzog, Grizzly Man (2005)
11'09''01- September'11 (2002)

Module A - Subjective, objective, intersubjective: Kantian declinations and pragmatic developments.
The program of Module A will focus on the following topics:
- Presentation of the historical-theoretical meaning of the conceptual triad on which the course focuses
- The transcendental structure of subjectivity and the construction of objectivity.
- The criterion of intersubjectivity in the logical-semiotic pragmatism of Ch. S. Peirce.

Module B - Subjective, objective, intersubjective: The a priori in C.I. Lewis' 'conceptual pragmatism'
The program of Module B will focus on the following topics:
- Experience, concepts and the intersubjective world
- The relativity of knowledge and the objectivity of the real
- The knowledge of objects and the pragmatic nature of the a priori.

Module A:
1) I. Kant, "Introduction" to the Critique of Pure Reason, edition of your choice.
2) Ch. S. Peirce, "The Fixation of Belief"; Idem, "How to Make Our Ideas Clear", in Ch. S. Pierce, Selected Writings (photocopies available).
3) R. M. Calcaterra, G. Maddalena, G. Marchetti (ed.), Il Pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci, 2017: pp.13-249.
Suggested texts:
A. Guerra, Introduzione a Kant, Laterza, 2017
G. Maddalena, Peirce, La Scuola 2015

Module B:
1) 1) C. I. Lewis, Mind and the World Order, Dover Books on Western Philosophy 1991.
2) R. M. Calcaterra, G. Maddalena, G. Marchetti (ed.), Il Pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci, 2017: pp.13-249.

Suggested texts:
M. Ferrarri, Lewis and Schlick. Verificationism between Pragmatism and Logical Empiricism, in "European Journal of Pragmatism and American Philosophy", n. 1, 2019.
G. Zanet, La radice pragmatista: la linea genealogica Kant-Peirce- C. I. Lewis-Quine, in Idem, Le radici del naturalismo, Quodlibet 2007, pp. 83-117.
S.B. Rosenthal, C.I. Lewis in Focus. The Pulse of Pragmatism, Indiana University Press, 2007.

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

TEXTS FOR THE EXAMINATION:

ATTENDING STUDENTS
1) Alfonso Cipolla, Giovanni Moretti, "Storia dei burattini e delle marionette in Italia", Corazzano, Titivillus, 2011
2) Texts and materials that will be recommended and / or provided during the lessons (it will be possible to diversify the study topics by choosing from the topics covered in class and agreed with the teacher).


NON ATTENDING STUDENTS
1) Alfonso Cipolla, Giovanni Moretti, "Storia dei burattini e delle marionette in Italia", Corazzano, Titivillus, 2011
2) Mariano Dolci, Vito Minoia, "Dialogo sul trasferimento del burattino in educazione", Urbino, Edizioni Nuove Catarsi, 2009 (per informazioni sulla distribuzione del volume si rimanda al sito www.edizioninuovecatarsi.org)
3) Giorgio Agamben, "Pulcinella ovvero Divertimento per li regazzi", Roma, ed. nottetempo, edizione aggiornata del 2016
4) Materials prepared by the professor and published in the teacher's area on the site of the FilCoSpe department, to download online: http://filosofiacomunicazionespettacolo-uniroma3-it.mirror.uniroma3.it/vventurini/materiale-didattico/dispense-corso-tradizioni-mestieri-teatro-vivo-a-a-2018-19/

E-MAIL ADDRESS OF THE PROFESSOR: valentina.venturini@uniroma3.it
LESSONS: second semester

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

Alberto Capatti e Massimo Montanari, La cucina italiana. Storia di una cultura, Roma-Bari, Laterza 2017, 424 p., € 14,00.
A book to be chosen from:
Cibo, a cura di Ester Fano, Nora McKeon e Giancarlo Monina, “Parolechiave”, 58, dicembre 2017, 240 p., € 22,00.
Massimo Montanari, Il cibo come cultura, Roma-Bari, Laterza, 2017, 186 p., € 10,00
Essays of your choice (minimum 3) from Storia d’Italia, Annali 13, L’alimentazione, Torino, Einaudi, 1998 (in the library)

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

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

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

None. It is essentially a practical workshop.

Through a practical work of creation and realization of film exercises, the laboratory will introduce the filmmaking work: from writing to production, from shooting to editing, getting into the definition of all the roles, skills and resources needed to make a film.

One of the following two books are indicated:

Laboratorio di regia
Maurizio Nichetti, Giuseppe Carrieri
Editore: Audino
Collana: Manuali di Script
Anno edizione: 2017
Pagine: 125 p., ill. , Brossura
EAN: 9788875273521

Fuck the continuity - Eccezioni e regole in regia, continuità e montaggio
Miguel Lombardi
Editore: Audino
Taccuini, n. 25
2010, pp. 160, SECONDA EDIZIONE
ISBN: 9788875271831

I TEACHING MODULE (6CFU)
Title: Modern History Institutions
The lessons will focus mainly on the following topics: Europe and its interrelation with non-European worlds; Crisis and identity of modern Italy; Humanism and the Renaissance; Protestant Reformation and Catholic Counter-Reformation; The ancient regime society: classes and classes; Economic models: the land, work, finance and the market in the modern age; Political systems and their dynamics: empire, monarchies and republics; Family and demography; Literacy and culture; The birth of modern science; Enlightenment and reforms; The first industrial revolution; The American Revolution and the birth of the United States; French Revolution; the Napoleonic Age and the Europe of nations.

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

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

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

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

II MODULO (6 CFU)

Testi d’esame (A+B)

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

B. Un testo a scelta tra i seguenti :

1) L’uomo del Rinascimento, a cura di E. Garin, Roma-Bari, Laterza,
2) A. Tenenti, L’Italia del Quattrocento. Economia e società, Roma-Bari, Laterza
3)R. von Albertini, Firenze dalla Repubblica al principato. Storia e coscienza politica, Torino, Einaudi
4) F. Chabod, Scritti sul Rinascimento, Torino, Einaudi (pp.1-239)
5) J. Burckhardt, La civiltà del Rinascimento in Italia ,Firenze, Sansoni
6) E. Bonora, Aspettando l’imperatore. Principi italiani tra il papa e Carlo V, Torino, Einaudi
7) M. Pellegrini, Il papato nel Rinascimento, Bologna, Il Mulino
8)Niccolò Machiavelli, Il principe, Torino, Einaudi , (o Milano,Garzanti)
9) Francesco Guicciardini, Storia d’Italia (1490-1534), 3 voll.(un volume a scelta), Torino, Einaudi, (o Milano, Mondadori)
10)Baldassar Castiglione, Il libro del cortegiano, Milano, Rizzoli

Students will learn the most important themes of the relationship between Ethics and Aesthetics through the analysis of some passages from the works of Plato, Aristotle, Bruno, Shakespeare, Kant, Hegel, Nietzsche, Haidegger, Blumenberg.
They will deepen the concept of "punishment" and "social reintegration" of the deviant, according to Article 27 of the Constitution of the Italian Republic.
They will participate in the staging of "The General Inspector" by N. Gogol at the Rebibbia Prison Theater.

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

The workshop introduces the students to the "theater of places" project: a project concerning the creation of theatrical and installation works starting from the specific characters of the sites. In this project the site is assumed not as "set" for actions prepared elsewhere, but as a "text" and a matrix for creation. Following a careful work of "listening" by all the members of the theatrical group (the director, the actors and those who deal with the visual and sound aspects), the place becomes a generative element with respect to the construction of all aspects the performance: text, dramaturgy, body, space, sound, light.
In this project, texts, actions, movement take shape in the course of the preparatory work carried out on the spot, on the basis of the suggestions gathered in it and of the suggestions coming from the pre-existing elements and relations. The same sounds and noises of the place can be assimilated in the performance, becoming part of it.
On the first day, the workshop will be introduced from a theoretical speech on the project, with audiovisual supports, with related discussions. In the next two days it will put the participants in the condition of experiencing - in relation to the space in which the workshop will take place - the possible relations with the site, with the elaboration of short actions and interventions related to space, objects, light, following the “theatre of places” principles. The last two days will be devoted to the linking of actions to each other and montage.
Given the context in which the workshop will take place (ATCL space), particular importance will be given to the role played by light in the procedure described.

Fabrizio Crisafulli, Il teatro dei luoghi. Lo spettacolo generato dalla realtà, Dublin: Artdigiland 2015 (optional).

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

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

A dance methodology
Body practices and performing techniques in new research currents:
Butoh dance, Eurhythmicsof Steiner


The creative process that we want to share is open to all professional and non-professional students who want to approach the scene by the principles of the latest research on bodily reality: Butoh dance, from its origins in Japan to the inevitable influence with Western practices and Eurhythmics of Steiner in its intersection with the sensitivity of Eastern thought. The work will move around two important nucleus: training and authorial dance. For the first phase, which involves building and refining body awareness, it is essential to activate a perceptive listening of physical and spiritual resources starting from the basic units of the Training: exercises are real thermometers of the energy temperature of the human being.The Training, traditionally oriented towards a functional movement, will change nature and will be considered in itself a preferential way to access the dimension of dance. You will gradually enter into action through breathing practices, which attempt to bring attention back to an essential condition for the human being and for creation in itself: rooting in the body in order to be able to inhabit it in all its transformations and projections.The breath of life, as indicated in Eastern cultures, if sensibly directed in order to listen the individual parts of the body, can recover innate perceptive and sensorial intelligences and concretely awaken the articulating places of the muscular and skeletal structure.Taking care of posture is good for energy circulation and it is closely linked to a physiological harmony and an ontological richness, important elements to develop an artistic DNA. It is indispensable to come back to the conditions of waiting, to be able to pause within the body, to bring out the creativity of the human being,touching the uniqueness of his own nature. From this first subtle and delicate approach, we will move on to an increasingly macroscopic dimension of action.Some definite dance exercises, belonging to AnkokuButo, will be introduced: Samurai, Samurai in the clearing, Needles, Boxes, Seiza, The madness of the exact center ... other ones, inherent to natural phenomena: The movement of the clouds , Rainbow, Like flowing water, Animals ... different walkings and body states, swell as grammatical units, which train not only the elasticity, strength and stability of the body, but at the same time stimulate an original alliance between matter and energy, a seal necessary to enter, sustain and to rebirth the human presence in the given condition.The body volume, the three-dimensionality of the internal space, will be related to the amplitude of the surrounding space, both individually and chorally, with instruments taken from Eurhythmics: the Ephesus Technique and Forms. The Ephesus technique consists in extrapolating the energy of the voice during the emission of the basic elements of the language: vowels and consonants.These are captured in their sound and non-sound aspect. The silent emission of the word creates a physical space. Equally the non-action is the silence of the action. The Ephesus Statemake people acquire the sensitivity of important internal organic mechanisms and their echo. The introduction of ancient vocal and consonant mantras will more objectively restore the deep influence of the action of the voice on body structure.The contact with the blurred perceptive reality between visible and invisible, internal and external is a fundamental assumption of holistic knowledge and artistic awareness of the body. As far as the forms of eurhythmicsare concerned, these are projections into space of certain geometries present in Nature, in the Cosmos and in the Human too. One of the simplest examples: the Star, the Esse, the Spiral, round volumes, angular ones, curves ... Each participant is invited to follow the Forms, to explore their directions, to receive them as dimensions, spatial phenomena, in order to move and also to be moved by them for a mysterious alchemy of action. Space as a structure to follow thanks to the Forms and space as magma to be imagined in Defined Dance Exercises. To reach the level of an authorial dance a particular thrust is given in deepening the methodology by images. The intent is to explore in avery personal way the resources and artistic visions of each participant: the Nikutaiin the poetics of the Japanese Buto, that is the inner landscape or the Objective image in Eurhythmics. The first step will be in relating to certain concrete words and poetic verses specifically chosen and subsequently to meet the suggestion and the elusiveness of the Haiku, short compositions, vertices of Japanese poetic culture. Through Haiku the dynamic with Time and Space loses its usual boundaries to find further layers and springs, their distant echo and root, as if they were blown out of a remote place in human being.The dramaturgy of the body is enriched. Starting to compare the dancer or performer as well as an insect to rediscover his immediate quality of reaction in the space, in the same way orin a more enigmatic one Haiku subvert the reading codes of the real, to make us grasp more spontaneously its invisible, dual, multiple aspect. We have to catch the "back", the shadow of things with greater confidence and intuition. The workshop will include an open day during which other teachers, students, anyone interested is invited to come.

Alessandra Cristiani, "Masaki Iwana e la tradizione del Butō Bianco. Metodologia della danza" e "Un’ulteriore riflessione" in "Trasform’azioni - Rassegna internazionale di danza butō. Fotografia di un’esperienza" edited by Samantha Marenzi, Editoria e Spettacolo, Roma 2010.

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

- Chun Wendy Hui Kyong, Programmed Visions. Software and Memory, The MIT Press, Cambridge MA, 2011.
- Parikka Jussi, What is Media Archeology?, Polity Press, Cambridge (UK), 2012.
- Schechner Richard, Performance Studies: An Introduction (Third Edition), Routledge, London and New York, 2013.
- Gatti Giuseppe, “Dispositivi del Sé” in Dispositivo. Un’archeologia della mente e dei media, Roma TrE-Press, 2019 (in course of publication).

The themes of the laboratory will be: The word to the radio, radio language and orality; The peculiarities of radio journalism; The search and writing of the news for the radio bulletin; Structuring and performing the news; Performing and conducting an interview; Writing and conducting radio features, surveys, documentaries.

About storytelling
Craft a Logline
Develop Your Characters
Write a logline
Plot and Outline
Develop a Treatment
Paradigma Field scheme
McKee scheme
Vogler journey scheme
Format
Pitch

David Howard, Edward Mabley - The Tools of Screenwriting - St. Martin's Griffin, New York
Lezioni di sceneggiatura. Vol. 2: Utilizzare le strutture drammaturgiche, dalle classiche a quelle oltre le regole.
David Howard, Audino2013

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

1. ELEMENTS OF THE ECONOMY OF MOVIE AND AUDIOVISUAL SECTOR
2. DEVELOPMENT: from the script to the BUDGETING
3. PREPRODUCTION: from the budgeting to the financial plan and funding
4. SHOOTING
5. POSTPRODUCTION
6. MOVIE DISTRIBUTION/SALES
7. MOVIE THEATER AND RELEASE WINDOWS (THE CHAIN OF THE VALUE OF THE FILM AND THE AUDIOVISUAL PRODUCTION)
8. VIDEO ON DEMAND (VOD
9. OVER THE TOP (OTT )
10. ONLINE VIDEO AGGREGATOR
11. CONNECTED TELEVISION
12. RISK AND SUCCESS FACTORS
13. FILM MARKETING/PUBLICITY
14. CINEMA and BIG DATA

Giandomenico Celata e Rossella Gaudio, Economia,Management e Finanza dell'Impresa Cinematografica ed Audiovisiva

https://stores.streetlib.com/it/giandomenico-celata-e-rossella-gaudio/economiamanagement-e-finanza-dellimpresa-cinematografica-ed-audiovisiva/

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

- A. Amaducci, Videoarte. Storia, autori, linguaggi, Kaplan, Torino 2014;
-M. M. Gazzano. Il Cinema & Cinema. Dal film alle arti elettroniche, andata e ritorno (dispense autorizzate), Roma 2018

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

The course develops methodological skills in order to undertake research in the field of communication studies. The first part of the course will examine the methodological framework for the study of culture and communication.
The main stages and strategies of the field research, with particular emphasis on the ethnographic method, will be explored during the second part. Students will participate in laboratory activities to plan and implement research projects on topics agreed with the teacher.

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

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

-Italo Zannier "L'occhio della fotografia. Protagonisti, tecniche e stili", Carocci, Roma 2019 (new edition)

- Tre saggi a scelta scaricabili dal web compresi nel volume:
E. Menduni, L. Marmo (a cura di), Fotografia e culture visuali del XXI secolo, RomaTrE-Press 2018
(http://romatrepress.uniroma3.it/ojs/index.php/fotografia).

ATTENDING STUDENTS:
Replace Zannier's volume with one book chosen by the followings:
- Claudio Marra, Fotografia e arti visive, Carocci, Roma 2014;
- Claudio Marra, Che cos'è la fotografia, Carocci, Roma 2017.

The workshop introduces the students to the "theater of places" project: a project concerning the creation of theatrical and installation works starting from the specific characters of the sites. In this project the site is assumed not as "set" for actions prepared elsewhere, but as a "text" and a matrix for creation. Following a careful work of "listening" by all the members of the theatrical group (the director, the actors and those who deal with the visual and sound aspects), the place becomes a generative element with respect to the construction of all aspects the performance: text, dramaturgy, body, space, sound, light.
In this project, texts, actions, movement take shape in the course of the preparatory work carried out on the spot, on the basis of the suggestions gathered in it and of the suggestions coming from the pre-existing elements and relations. The same sounds and noises of the place can be assimilated in the performance, becoming part of it.
On the first day, the workshop will be introduced from a theoretical speech on the project, with audiovisual supports, with related discussions. In the next two days it will put the participants in the condition of experiencing - in relation to the space in which the workshop will take place - the possible relations with the site, with the elaboration of short actions and interventions related to space, objects, light, following the “theatre of places” principles. The last two days will be devoted to the linking of actions to each other and montage.
Given the context in which the workshop will take place (ATCL space), particular importance will be given to the role played by light in the procedure described.

Fabrizio Crisafulli, Il teatro dei luoghi. Lo spettacolo generato dalla realtà, Dublin: Artdigiland 2015 (optional).

The themes of the laboratory will be: The word to the radio, radio language and orality; The peculiarities of radio journalism; The search and writing of the news for the radio bulletin; Structuring and performing the news; Performing and conducting an interview; Writing and conducting radio features, surveys, documentaries.

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

- A. Amaducci, Videoarte. Storia, autori, linguaggi, Kaplan, Torino 2014;
-M. M. Gazzano. Il Cinema & Cinema. Dal film alle arti elettroniche, andata e ritorno (dispense autorizzate), Roma 2018

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

1. ELEMENTS OF THE ECONOMY OF MOVIE AND AUDIOVISUAL SECTOR
2. DEVELOPMENT: from the script to the BUDGETING
3. PREPRODUCTION: from the budgeting to the financial plan and funding
4. SHOOTING
5. POSTPRODUCTION
6. MOVIE DISTRIBUTION/SALES
7. MOVIE THEATER AND RELEASE WINDOWS (THE CHAIN OF THE VALUE OF THE FILM AND THE AUDIOVISUAL PRODUCTION)
8. VIDEO ON DEMAND (VOD
9. OVER THE TOP (OTT )
10. ONLINE VIDEO AGGREGATOR
11. CONNECTED TELEVISION
12. RISK AND SUCCESS FACTORS
13. FILM MARKETING/PUBLICITY
14. CINEMA and BIG DATA

Giandomenico Celata e Rossella Gaudio, Economia,Management e Finanza dell'Impresa Cinematografica ed Audiovisiva

https://stores.streetlib.com/it/giandomenico-celata-e-rossella-gaudio/economiamanagement-e-finanza-dellimpresa-cinematografica-ed-audiovisiva/

The course develops methodological skills in order to undertake research in the field of communication studies. The first part of the course will examine the methodological framework for the study of culture and communication.
The main stages and strategies of the field research, with particular emphasis on the ethnographic method, will be explored during the second part. Students will participate in laboratory activities to plan and implement research projects on topics agreed with the teacher.

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

• Introduction: the screen sector, the film/audiovisual production industry, the players
• The new Cinema Law: main aspects
• The nationality of a film/audiovisual content, the screen contents unable to access the benefits of the Law; the parameters to define a film
• The Audiovisual Media Services Directive and the obligation of programming and investment in European production
• The support to audiovisual content production/distribution: the tax relief, the selective schemes, the automatic schemes
• The support to audiovisual content promotion

The subject is rather new, therfore there is no text book. The professor will provide the studying papers and reports for the students in class.

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

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


III: On the basis of the adopted point of view and of the language used, choice of technical shooting equipment, sound and crew necessary for the realization of the documentary film.

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

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

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


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


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


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


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


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

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

Bibliography:

1) Italo Calvino, Lezioni americane (Six Memos for the Next Millennium)
2) Walter Murch, In un batter d'occhi. Una prospettiva sul montaggio cinematografico nell'era digitale (In the Blink of an Eye: A Perspective on Film Editing, 2nd Edition)
3) Ivelise Perniola, L'era postdocumentaria.

Filmography:

- La scomparsa di mia madre (Beniamino Barrese, 2019)
- Normal (Adele Tulli, 2019)
- Selfie (Agostino Ferrente, 2019)
- Linfa (Carlotta Cerquetti, 2018)
- Fuocoammare (Gianfranco Rosi, 2016)
- Saro (Enrico Maria Artale, 2016)
- 1960 (Gabriele Salvatores, 2010)

Antonietta De Lillo's filmography:

- Il Resto di Niente (2004)
- Let's Go (2014)
- OGGI INSIEME DOMANI ANCHE film partecipato (2015)
- Metamorfosi napoletane (2018)

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

There is not a course book.

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

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

Texts, essays and articles will be provided and reported to the students directly at the lesson.

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

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

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

1. ELEMENTS OF THE ECONOMY OF MOVIE AND AUDIOVISUAL SECTOR
2. DEVELOPMENT: from the script to the BUDGETING
3. PREPRODUCTION: from the budgeting to the financial plan and funding
4. SHOOTING
5. POSTPRODUCTION
6. MOVIE DISTRIBUTION/SALES
7. MOVIE THEATER AND RELEASE WINDOWS (THE CHAIN OF THE VALUE OF THE FILM AND THE AUDIOVISUAL PRODUCTION)
8. VIDEO ON DEMAND (VOD
9. OVER THE TOP (OTT )
10. ONLINE VIDEO AGGREGATOR
11. CONNECTED TELEVISION
12. RISK AND SUCCESS FACTORS
13. FILM MARKETING/PUBLICITY
14. CINEMA and BIG DATA

Giandomenico Celata e Rossella Gaudio, Economia,Management e Finanza dell'Impresa Cinematografica ed Audiovisiva

https://stores.streetlib.com/it/giandomenico-celata-e-rossella-gaudio/economiamanagement-e-finanza-dellimpresa-cinematografica-ed-audiovisiva/

Italian Literature “within” the First World War

a) Le notti chiare erano tutte un’alba. Antologia dei poeti italiani nella Prima guerra mondiale, edited by Andrea Cortellessa, Milano, Bompiani, 2018

b) plus one author, by choice, among:
Federico De Roberto, La paura e altri racconti di guerra, a cura di Gabriele Pedullà, Milano, Garzanti, 2015; or Giovanni Comisso, Giorni di guerra, Milano, Longanesi, 2009; or Carlo Emilio Gadda, Giornale di guerra e di prigionia, Milano, Garzanti, 2001; or Emilio Lussu, Un anno sull’altipiano, Torino, Einaudi, 2014

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

The course will be structured in two distinct parts: a first part will address the history of documentary cinema from its origins to the contemporary, through the study of movements, currents, authors and trends. The second part instead focuses on the theme of iconoclastic cinema, that is, it will develop through a path of analysis of all those authors and those works that have denied the image in the cinema of reality, for ideological reasons, social, political, artistic or cultural. The course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.

Program- Cinematografia documentaria (A. A. 2019-20)

Bibliography:
Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Maria Cristina Lasagni, Nanook cammina ancora. Il cinema documentario: storia e teoria, Bruno Mondadori, Milano, 2014



Attention: the examination filmography following the coronavirus emergency could be subject to changes.



FIlmography:

Marguerite Duras, L'Homme atlantique (1981)
Derek Jarman, Blue (1993)
Guy Debord, Hurlements en faveur de Sade (1952)
Claude Lanzmann, Sobibor, 14 ottobre 1943, ore 13. (2001)
Dziga Vertov, L'uomo con la macchina da presa (1929)
Werner Herzog, Grizzly Man (2005)
11'09''01- September'11 (2002)

GENERAL PART OF THE PROGRAM. FUNDAMENTS OF THE SCIENTIFIC DEBATE ON PSYCHOLOGY. THE ORIGIN OF THE PSYCHOANALYTIC MOVEMENT IN ITALY. FREUD AND BREUER. FREUD AND FLIESS. FREUD AND JUNG. THE FREE ASSOCIATION TECHNIQUE. THE FIRST AND SECOND FREUDIAN TOPIC. FREUD AND THE JEWISH TRADITION.


SPECIFIC PART OF THE PROGRAM. THE FREUDIAN THEORY OF DREAMS. FREUD AND THE PSYCHOLOGY OF ART. PSYCHOANALYTIC RESEARCH AND COGNITIVE PSYCHOLOGY DEVELOPMENTS.

1. E. BONAVENTURA (1938). LA PSICOANALISI. (Edizione a cura di D. Meghnagi). VENEZIA: MARSILIO, 2016.
2. D. MEGHNAGI, IL PADRE E LA LEGGE. VENEZIA: MARSILIO, 2016.
3. S. FREUD, IL MOSE' DI MICHELANGELO. IN "OPERE COMPLETE DI SIGMUND FREUD". TORINO, BOLLATI BORINGHIERI.
4. S. FREUD, L'INTERPRETAZIONE DEI SOGNI. IN "OPERE COMPLETE DI SIGMUND FREUD". TORINO, BOLLATI BORINGHIERI.

ALTERNATIVE PROGRAM

1. E. BONAVENTURA (1938). LA PSICOANALISI. (Edizione a cura di D. Meghnagi). VENEZIA: MARSILIO, 2016.
2. D. MEGHNAGI, IL PADRE E LA LEGGE. VENEZIA: MARSILIO, 2016.
3. M. LEWIS, Un'AMICIZIA DA NOBEL, MILANO, R. CORTINA EDITORE, 2017.

Module A - Subjective, objective, intersubjective: Kantian declinations and pragmatic developments.
The program of Module A will focus on the following topics:
- Presentation of the historical-theoretical meaning of the conceptual triad on which the course focuses
- The transcendental structure of subjectivity and the construction of objectivity.
- The criterion of intersubjectivity in the logical-semiotic pragmatism of Ch. S. Peirce.

Module B - Subjective, objective, intersubjective: The a priori in C.I. Lewis' 'conceptual pragmatism'
The program of Module B will focus on the following topics:
- Experience, concepts and the intersubjective world
- The relativity of knowledge and the objectivity of the real
- The knowledge of objects and the pragmatic nature of the a priori.

Module A:
1) I. Kant, "Introduction" to the Critique of Pure Reason, edition of your choice.
2) Ch. S. Peirce, "The Fixation of Belief"; Idem, "How to Make Our Ideas Clear", in Ch. S. Pierce, Selected Writings (photocopies available).
3) R. M. Calcaterra, G. Maddalena, G. Marchetti (ed.), Il Pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci, 2017: pp.13-249.
Suggested texts:
A. Guerra, Introduzione a Kant, Laterza, 2017
G. Maddalena, Peirce, La Scuola 2015

Module B:
1) 1) C. I. Lewis, Mind and the World Order, Dover Books on Western Philosophy 1991.
2) R. M. Calcaterra, G. Maddalena, G. Marchetti (ed.), Il Pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci, 2017: pp.13-249.

Suggested texts:
M. Ferrarri, Lewis and Schlick. Verificationism between Pragmatism and Logical Empiricism, in "European Journal of Pragmatism and American Philosophy", n. 1, 2019.
G. Zanet, La radice pragmatista: la linea genealogica Kant-Peirce- C. I. Lewis-Quine, in Idem, Le radici del naturalismo, Quodlibet 2007, pp. 83-117.
S.B. Rosenthal, C.I. Lewis in Focus. The Pulse of Pragmatism, Indiana University Press, 2007.

The course will be structured in two distinct parts: a first part will address the history of documentary cinema from its origins to the contemporary, through the study of movements, currents, authors and trends. The second part instead focuses on the theme of iconoclastic cinema, that is, it will develop through a path of analysis of all those authors and those works that have denied the image in the cinema of reality, for ideological reasons, social, political, artistic or cultural. The course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.

Program- Cinematografia documentaria (A. A. 2019-20)

Bibliography:
Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Maria Cristina Lasagni, Nanook cammina ancora. Il cinema documentario: storia e teoria, Bruno Mondadori, Milano, 2014



Attention: the examination filmography following the coronavirus emergency could be subject to changes.



FIlmography:

Marguerite Duras, L'Homme atlantique (1981)
Derek Jarman, Blue (1993)
Guy Debord, Hurlements en faveur de Sade (1952)
Claude Lanzmann, Sobibor, 14 ottobre 1943, ore 13. (2001)
Dziga Vertov, L'uomo con la macchina da presa (1929)
Werner Herzog, Grizzly Man (2005)
11'09''01- September'11 (2002)

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

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

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

Students will learn the most important themes of the relationship between Ethics and Aesthetics through the analysis of some passages from the works of Plato, Aristotle, Bruno, Shakespeare, Kant, Hegel, Nietzsche, Haidegger, Blumenberg.
They will deepen the concept of "punishment" and "social reintegration" of the deviant, according to Article 27 of the Constitution of the Italian Republic.
They will participate in the staging of "The General Inspector" by N. Gogol at the Rebibbia Prison Theater.

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

The workshop introduces the students to the "theater of places" project: a project concerning the creation of theatrical and installation works starting from the specific characters of the sites. In this project the site is assumed not as "set" for actions prepared elsewhere, but as a "text" and a matrix for creation. Following a careful work of "listening" by all the members of the theatrical group (the director, the actors and those who deal with the visual and sound aspects), the place becomes a generative element with respect to the construction of all aspects the performance: text, dramaturgy, body, space, sound, light.
In this project, texts, actions, movement take shape in the course of the preparatory work carried out on the spot, on the basis of the suggestions gathered in it and of the suggestions coming from the pre-existing elements and relations. The same sounds and noises of the place can be assimilated in the performance, becoming part of it.
On the first day, the workshop will be introduced from a theoretical speech on the project, with audiovisual supports, with related discussions. In the next two days it will put the participants in the condition of experiencing - in relation to the space in which the workshop will take place - the possible relations with the site, with the elaboration of short actions and interventions related to space, objects, light, following the “theatre of places” principles. The last two days will be devoted to the linking of actions to each other and montage.
Given the context in which the workshop will take place (ATCL space), particular importance will be given to the role played by light in the procedure described.

Fabrizio Crisafulli, Il teatro dei luoghi. Lo spettacolo generato dalla realtà, Dublin: Artdigiland 2015 (optional).

A dance methodology
Body practices and performing techniques in new research currents:
Butoh dance, Eurhythmicsof Steiner


The creative process that we want to share is open to all professional and non-professional students who want to approach the scene by the principles of the latest research on bodily reality: Butoh dance, from its origins in Japan to the inevitable influence with Western practices and Eurhythmics of Steiner in its intersection with the sensitivity of Eastern thought. The work will move around two important nucleus: training and authorial dance. For the first phase, which involves building and refining body awareness, it is essential to activate a perceptive listening of physical and spiritual resources starting from the basic units of the Training: exercises are real thermometers of the energy temperature of the human being.The Training, traditionally oriented towards a functional movement, will change nature and will be considered in itself a preferential way to access the dimension of dance. You will gradually enter into action through breathing practices, which attempt to bring attention back to an essential condition for the human being and for creation in itself: rooting in the body in order to be able to inhabit it in all its transformations and projections.The breath of life, as indicated in Eastern cultures, if sensibly directed in order to listen the individual parts of the body, can recover innate perceptive and sensorial intelligences and concretely awaken the articulating places of the muscular and skeletal structure.Taking care of posture is good for energy circulation and it is closely linked to a physiological harmony and an ontological richness, important elements to develop an artistic DNA. It is indispensable to come back to the conditions of waiting, to be able to pause within the body, to bring out the creativity of the human being,touching the uniqueness of his own nature. From this first subtle and delicate approach, we will move on to an increasingly macroscopic dimension of action.Some definite dance exercises, belonging to AnkokuButo, will be introduced: Samurai, Samurai in the clearing, Needles, Boxes, Seiza, The madness of the exact center ... other ones, inherent to natural phenomena: The movement of the clouds , Rainbow, Like flowing water, Animals ... different walkings and body states, swell as grammatical units, which train not only the elasticity, strength and stability of the body, but at the same time stimulate an original alliance between matter and energy, a seal necessary to enter, sustain and to rebirth the human presence in the given condition.The body volume, the three-dimensionality of the internal space, will be related to the amplitude of the surrounding space, both individually and chorally, with instruments taken from Eurhythmics: the Ephesus Technique and Forms. The Ephesus technique consists in extrapolating the energy of the voice during the emission of the basic elements of the language: vowels and consonants.These are captured in their sound and non-sound aspect. The silent emission of the word creates a physical space. Equally the non-action is the silence of the action. The Ephesus Statemake people acquire the sensitivity of important internal organic mechanisms and their echo. The introduction of ancient vocal and consonant mantras will more objectively restore the deep influence of the action of the voice on body structure.The contact with the blurred perceptive reality between visible and invisible, internal and external is a fundamental assumption of holistic knowledge and artistic awareness of the body. As far as the forms of eurhythmicsare concerned, these are projections into space of certain geometries present in Nature, in the Cosmos and in the Human too. One of the simplest examples: the Star, the Esse, the Spiral, round volumes, angular ones, curves ... Each participant is invited to follow the Forms, to explore their directions, to receive them as dimensions, spatial phenomena, in order to move and also to be moved by them for a mysterious alchemy of action. Space as a structure to follow thanks to the Forms and space as magma to be imagined in Defined Dance Exercises. To reach the level of an authorial dance a particular thrust is given in deepening the methodology by images. The intent is to explore in avery personal way the resources and artistic visions of each participant: the Nikutaiin the poetics of the Japanese Buto, that is the inner landscape or the Objective image in Eurhythmics. The first step will be in relating to certain concrete words and poetic verses specifically chosen and subsequently to meet the suggestion and the elusiveness of the Haiku, short compositions, vertices of Japanese poetic culture. Through Haiku the dynamic with Time and Space loses its usual boundaries to find further layers and springs, their distant echo and root, as if they were blown out of a remote place in human being.The dramaturgy of the body is enriched. Starting to compare the dancer or performer as well as an insect to rediscover his immediate quality of reaction in the space, in the same way orin a more enigmatic one Haiku subvert the reading codes of the real, to make us grasp more spontaneously its invisible, dual, multiple aspect. We have to catch the "back", the shadow of things with greater confidence and intuition. The workshop will include an open day during which other teachers, students, anyone interested is invited to come.

Alessandra Cristiani, "Masaki Iwana e la tradizione del Butō Bianco. Metodologia della danza" e "Un’ulteriore riflessione" in "Trasform’azioni - Rassegna internazionale di danza butō. Fotografia di un’esperienza" edited by Samantha Marenzi, Editoria e Spettacolo, Roma 2010.

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

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

Saussure, Wittgenstein, Chomsky: three perspectives in comparison

F. de Saussure, Corso di linguistica generale, Laterza. Limited to the following parts:
Introduction, chap. II-V; Part One. General principles, chapters I-III (of chapter III only paragraphs 1 and 4); Part two. Synchronous Linguistics, chapters I-VI; Part Three. Diachronic linguistics, chap. IV-V.

L. Wittgenstein, Ricerche filosofiche, Einaudi. Limited to the following parts:
Preface by the author; §§ 1-32, 65-98, 198-207, 243-265. For students who do not attend, it is advisable to consult the book by Marco Mazzeo, Le onde del linguaggio. A guide to philosophical research by Wittgenstein, Carocci.

N. Chomsky, Linguaggio e problemi della conoscenza, il Mulino. imited to the following parts: first, second (up to page 45), fifth and sixth chapters.

GENERAL PART OF THE PROGRAM. FUNDAMENTS OF THE SCIENTIFIC DEBATE ON PSYCHOLOGY. THE ORIGIN OF THE PSYCHOANALYTIC MOVEMENT IN ITALY. FREUD AND BREUER. FREUD AND FLIESS. FREUD AND JUNG. THE FREE ASSOCIATION TECHNIQUE. THE FIRST AND SECOND FREUDIAN TOPIC. FREUD AND THE JEWISH TRADITION.


SPECIFIC PART OF THE PROGRAM. THE FREUDIAN THEORY OF DREAMS. FREUD AND THE PSYCHOLOGY OF ART. PSYCHOANALYTIC RESEARCH AND COGNITIVE PSYCHOLOGY DEVELOPMENTS.

1. E. BONAVENTURA (1938). LA PSICOANALISI. (Edizione a cura di D. Meghnagi). VENEZIA: MARSILIO, 2016.
2. D. MEGHNAGI, IL PADRE E LA LEGGE. VENEZIA: MARSILIO, 2016.
3. S. FREUD, IL MOSE' DI MICHELANGELO. IN "OPERE COMPLETE DI SIGMUND FREUD". TORINO, BOLLATI BORINGHIERI.
4. S. FREUD, L'INTERPRETAZIONE DEI SOGNI. IN "OPERE COMPLETE DI SIGMUND FREUD". TORINO, BOLLATI BORINGHIERI.

ALTERNATIVE PROGRAM

1. E. BONAVENTURA (1938). LA PSICOANALISI. (Edizione a cura di D. Meghnagi). VENEZIA: MARSILIO, 2016.
2. D. MEGHNAGI, IL PADRE E LA LEGGE. VENEZIA: MARSILIO, 2016.
3. M. LEWIS, Un'AMICIZIA DA NOBEL, MILANO, R. CORTINA EDITORE, 2017.

Module A - Subjective, objective, intersubjective: Kantian declinations and pragmatic developments.
The program of Module A will focus on the following topics:
- Presentation of the historical-theoretical meaning of the conceptual triad on which the course focuses
- The transcendental structure of subjectivity and the construction of objectivity.
- The criterion of intersubjectivity in the logical-semiotic pragmatism of Ch. S. Peirce.

Module B - Subjective, objective, intersubjective: The a priori in C.I. Lewis' 'conceptual pragmatism'
The program of Module B will focus on the following topics:
- Experience, concepts and the intersubjective world
- The relativity of knowledge and the objectivity of the real
- The knowledge of objects and the pragmatic nature of the a priori.

Module A:
1) I. Kant, "Introduction" to the Critique of Pure Reason, edition of your choice.
2) Ch. S. Peirce, "The Fixation of Belief"; Idem, "How to Make Our Ideas Clear", in Ch. S. Pierce, Selected Writings (photocopies available).
3) R. M. Calcaterra, G. Maddalena, G. Marchetti (ed.), Il Pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci, 2017: pp.13-249.
Suggested texts:
A. Guerra, Introduzione a Kant, Laterza, 2017
G. Maddalena, Peirce, La Scuola 2015

Module B:
1) 1) C. I. Lewis, Mind and the World Order, Dover Books on Western Philosophy 1991.
2) R. M. Calcaterra, G. Maddalena, G. Marchetti (ed.), Il Pragmatismo. Dalle origini agli sviluppi contemporanei, Carocci, 2017: pp.13-249.

Suggested texts:
M. Ferrarri, Lewis and Schlick. Verificationism between Pragmatism and Logical Empiricism, in "European Journal of Pragmatism and American Philosophy", n. 1, 2019.
G. Zanet, La radice pragmatista: la linea genealogica Kant-Peirce- C. I. Lewis-Quine, in Idem, Le radici del naturalismo, Quodlibet 2007, pp. 83-117.
S.B. Rosenthal, C.I. Lewis in Focus. The Pulse of Pragmatism, Indiana University Press, 2007.

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

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

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

Collection of essays.

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

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

Alberto Capatti e Massimo Montanari, La cucina italiana. Storia di una cultura, Roma-Bari, Laterza 2017, 424 p., € 14,00.
A book to be chosen from:
Cibo, a cura di Ester Fano, Nora McKeon e Giancarlo Monina, “Parolechiave”, 58, dicembre 2017, 240 p., € 22,00.
Massimo Montanari, Il cibo come cultura, Roma-Bari, Laterza, 2017, 186 p., € 10,00
Essays of your choice (minimum 3) from Storia d’Italia, Annali 13, L’alimentazione, Torino, Einaudi, 1998 (in the library)

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

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

A voyage in about three decades of narratives for the big and the small screen, with the so called second generation immigrants as leads, behind and before the camera. The battle for a new nationality law showed the presence of groups resisting the redefinition of the main narrative on Italianness. The fears raised by the attacks in the heart of Europe joined the return of some “race figures” linked to the past of Italy, as a country involved in dynamics of power and abuse on subaltern groups, from slavery to colonialism to biopolitical governance of the immigration.

Leonardo De Franceschi, La cittadinanza come luogo di lotta. Le seconde generazioni in Italia fra cinema e serialità (Canterano, Aracne Editrice, 2017).
An online collection of articles and datasheets, edited by the professor in charge.

About storytelling
Craft a Logline
Develop Your Characters
Write a logline
Plot and Outline
Develop a Treatment
Paradigma Field scheme
McKee scheme
Vogler journey scheme
Format
Pitch

David Howard, Edward Mabley - The Tools of Screenwriting - St. Martin's Griffin, New York
Lezioni di sceneggiatura. Vol. 2: Utilizzare le strutture drammaturgiche, dalle classiche a quelle oltre le regole.
David Howard, Audino2013

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

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

Texts, essays and articles will be provided and reported to the students directly at the lesson.

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

None. It is essentially a practical workshop.

Through a practical work of creation and realization of film exercises, the laboratory will introduce the filmmaking work: from writing to production, from shooting to editing, getting into the definition of all the roles, skills and resources needed to make a film.

One of the following two books are indicated:

Laboratorio di regia
Maurizio Nichetti, Giuseppe Carrieri
Editore: Audino
Collana: Manuali di Script
Anno edizione: 2017
Pagine: 125 p., ill. , Brossura
EAN: 9788875273521

Fuck the continuity - Eccezioni e regole in regia, continuità e montaggio
Miguel Lombardi
Editore: Audino
Taccuini, n. 25
2010, pp. 160, SECONDA EDIZIONE
ISBN: 9788875271831