Travelling, seeing, Manganelli

Travelling, seeing, Manganelli
a) Giorgio Manganelli, Esperimento con l’India, Milano, Adelphi, 1992 + Id., La favola pitagorica,
Milano, Adelphi, 2005 + Id., L’isola pianeta, Milano, Adelphi, 2006 + Viaggio in Africa, Adelphi
2018
b) Giorgio Manganelli, La morte come luce. Scritti sulle arti, Adelphi 2023
c) Lietta Manganelli, Giorgio Manganelli. Aspettando che l’inferno cominci a funzionare, La nave di Teseo 2022
d) Andrea Cortellessa, Il libro è altrove. Ventisei piccole monografie su Giorgio Manganelli, Luca Sossella 2020 and/or Andrea Cortellessa, Filologia fantastica. Ipotizzare, Manganelli, Argolibri 2022
e) to give a context in 20th and 21st century italian literary history: Giulio Ferroni, Storia della letteratura italiana, quarto volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

Definition of Communication. 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 of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.
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.

Teaching material for the course “Psychology of Emotions and Multimodal Communication”, 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. Either choice B1 or choice B2

Choice B1.
Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.

Choice B2.
Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022:
chapters not to read: 1 – 4, 7-8, 13-14, 23, 38.
Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.


For those who take the course “Psychology of Emotions and Multimodal Communication” 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. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Mondadori, Milano 2022.
D. A text or set of text, chosen from the following items:

1. Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.
2. Nobile L. e Lombardi Vallauri E. : Onomatopea e fonosimbolismo. Carocci, Roma 2020.
3. Bonini T. e Perrotta M.: Che cos’è un podcast. Carocci, Roma 2023.
4. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
5. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
6. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
7. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
8. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
9. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
10. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
11. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
12. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
13. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
14. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
15. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
16. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019
17. Caruana F. e Viola M.: Come funzionano le emozioni. Bologna, Il Mulino.
18. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
19. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
20. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento. Bologna, Il Mulino.
21. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
22. Bambini V. Il cervello pragmatico. Roma, Carocci.
23. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
24. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

25. The following pair of books:
Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
+
Riva G.: I social network. Bologna, Il Mulino

26. The following pair of books:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
+
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

27. 4 papers on emotions to download from
https://www.researchgate.net/profile/Isabella_Poggi

28. 4 papers on multimodal communication to download from the following link
https://www.researchgate.net/profile/Isabella_Poggi


Teaching material for those who have to give the following exam: “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. Roma, Armando 2008.
C. One text or a set of texts, chosen among the following items:

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 on emotions, to be downloaded from the following link:
https://www.researchgate.net/profile/Isabella_Poggi


Teaching material for those who have to give the following exam: “Psychology of Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:


A. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.
B. One text or set of texts, chosen within the following items:

1. Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.
2. Nobile L. e Lombardi Vallauri E. : Onomatopea e fonosimbolismo. Carocci, Roma 2020.
3. Bonini T. e Perrotta M.: Che cos’è un podcast. Carocci, Roma 2023.
4. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
5. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
6. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
7. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
8. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
9. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento.
10. Bologna, Il Mulino. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
11. Bambini V. Il cervello pragmatico. Roma, Carocci.
12. Ferrari M. e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

13. The following pair of books:

a. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
b. Riva G.: I social network. Bologna, Il Mulino

14. The following pair of books:
a. Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
b. Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

15. 4 articles on multimodal communication among the following, to be downloaded here:
https://www.researchgate.net/profile/Isabella_Poggi

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

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

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

Historical route:
Supported by some framing lessons, the student will study independently the most significant movements and authors of the twentieth century. A short list of compositions to listen to will be provided.
Focus:
The course will deepen some paths in U.S. music in the second half of the 20th century, without neglecting some pioneering figures such as Charles Ives, Henry Cowell or Conlon Nancarrow.

ELVIDIO SURIAN, Manuale di Storia della Musica, Vol. IV (Il Novecento), Milano, Rugginenti, 2002 integrated with Musica e società, 3: dal 1830 al 2000, a cura di Virgilio Bernardoni e Paolo Fabbri, Lucca, LIM, 2016, only cap. 12; the non-musically literate will avoid the study of the more technical sections of these manuals, replacing it with GIACOMO FRONZI, Percorsi musicali del Novecento. Storie, personaggi, poetiche da Schönberg a Sciarrino, Roma, Carocci, 2021.
Focus:
Itinerari della musica americana, a cura di Gianmario Borio e Gabrio Taglietti, Lucca, LIM, 1996 (rist. 2022).

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

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

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

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

Particularly focusing on the Fifteens and the Sixties, the course analyses Italian ethnographic documentary cinema and its most relevant directors. The second part of the class centers upon Cecilia Mangini’s films, also investigating her relationship with documentary and fiction cinema of that period and, more generally, the cultural production and the socio-cultural context of those years.

Required bibliography:
– Mattia Cinquegrani, Il cinema di Cecilia Mangini, Venezia, Marsilio, 2024.
– Selection of essays edited by the teacher (2 pdf files available on teacher's Moodle platform)

Required filmography:
Short-film
– Sioux Ghost Dance (William K.L. Dickson, 1894)
– Matrimonio abissino (Roberto Omegna, 1908)
– Matera (Romolo Marcellini, 1951)
– Trance and Dance in Bali (Margaret Mead, Gregory Bateson, 1952)
– La terra nuova (Francesco De Feo, 1952)
– Lamento funebre (Michele Gandin, 1953)
– Magia lucana (Luigi Di Gianni, 1958)
– Nascita e morte nel Meridione (Luigi Di Gianni, 1958)
– Ignoti alla città (Cecilia Mangini, 1958)
– La passione del grano (Lino Del Fra, 1960)
– L'inceppata (Lino Del Fra, 1960)
– Stendalì (Suonano ancora) (Cecilia Mangini, 1960)
– Maria e i giorni (Cecilia Mangini, 1960)
– La canta della marane (Cecilia Mangini, 1960)
– Divino Amore (Cecilia Mangini, 1960)
– La taranta (Gianfranco Mingozzi, 1961)
– Il male di San Donato (Luigi Di Gianni, 1965)

Full-lenght film:
– Siliva Zulu (Attilio Gatti, 1927)
– Man of Aran (L'uomo di Aran, Robert J. Flaherty, 1934)
– Domani vincerò (Cecilia Mangini, 1969)

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

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

2. The monographic part includes:
Stefano De Matteis, Gli sciamani non ci salveranno.

This course proposes the study of some experiences that arose in the context of postwar Japanese avant-garde and that influenced international dance in the second half of the 20th century by transforming its principles and aesthetics and proposing a new philosophy of the body and movement. Through the observation of Butoh and its origins, the course will analyze the experiences of Japanese dancers who were active as performers and as pedagogues in Europe and the paths of some of their Western students will be observed, identifying the elements of continuity and rupture and highlighting the fruitful aspects of one of the great dance revolutions of the last century.

- Trasform'azioni – rassegna internazionale di danza butō. Fotografia di un'esperienza, a cura di Samantha Marenzi, Editoria & Spettacolo, Roma 2010
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra).
- La Maison du Butoh Blanc, Dossier a cura di Samantha Marenzi, "Teatro e Storia" n. 44, 2023
- Samantha Marenzi, Alessandra Cristiani (titolo provvisorio) Editoria & Spettacolo, Spoleto 2023. The volume is being printed, in case it is not published in time it will be replaced with lecture notes by the teacher

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 the docu-film "Viva Viviani" written and directed by Mario e Stefano Martone, 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) Ettore Petrolini, "Modestia a parte", a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
4) Eventuali materiali a cura del docente (caricati nella sezione “FILE” del corso sulla piattaforma TEAMS)
5) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: "Viva Viviani" di M. e S. Martone [the film will be screened during the lessons; the relative link will be available from 16 April]

NON ATTENDING STUDENTS:
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) Franca Angelini, Teatro e spettacolo nel primo Novecento, Bari-Roma, Laterza, 2009
4) Ettore Petrolini, Modestia a parte, a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
5) FILM: La tavola dei poveri di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: Viva Viviani di M. e S. Martone [the relative link will be available from 16 April]

Particularly focusing on the Fifteens and the Sixties, the course analyses Italian ethnographic documentary cinema and its most relevant directors. The second part of the class centers upon Cecilia Mangini’s films, also investigating her relationship with documentary and fiction cinema of that period and, more generally, the cultural production and the socio-cultural context of those years.

Required bibliography:
– Mattia Cinquegrani, Il cinema di Cecilia Mangini, Venezia, Marsilio, 2024.
– Selection of essays edited by the teacher (2 pdf files available on teacher's Moodle platform)

Required filmography:
Short-film
– Sioux Ghost Dance (William K.L. Dickson, 1894)
– Matrimonio abissino (Roberto Omegna, 1908)
– Matera (Romolo Marcellini, 1951)
– Trance and Dance in Bali (Margaret Mead, Gregory Bateson, 1952)
– La terra nuova (Francesco De Feo, 1952)
– Lamento funebre (Michele Gandin, 1953)
– Magia lucana (Luigi Di Gianni, 1958)
– Nascita e morte nel Meridione (Luigi Di Gianni, 1958)
– Ignoti alla città (Cecilia Mangini, 1958)
– La passione del grano (Lino Del Fra, 1960)
– L'inceppata (Lino Del Fra, 1960)
– Stendalì (Suonano ancora) (Cecilia Mangini, 1960)
– Maria e i giorni (Cecilia Mangini, 1960)
– La canta della marane (Cecilia Mangini, 1960)
– Divino Amore (Cecilia Mangini, 1960)
– La taranta (Gianfranco Mingozzi, 1961)
– Il male di San Donato (Luigi Di Gianni, 1965)

Full-lenght film:
– Siliva Zulu (Attilio Gatti, 1927)
– Man of Aran (L'uomo di Aran, Robert J. Flaherty, 1934)
– Domani vincerò (Cecilia Mangini, 1969)

The 2023/2024 political communication course, in addition to the traditional fields of study, has an important moment of study and research in the European elections of May 2024.
The first part of the course is dedicated to the transformations within the modern public and political scene and to the most relevant theoretical contributions to political communication. The main areas of transformation of Italian political communication and its actors and the evolution of electoral campaigns will be examined.
The second part, dedicated to visual politics, analyzes the history and evolution of political graphics and aesthetic codes of Italian political propaganda from 1945 to today and the contacts and influences with the main artistic currents. This part includes the analysis and study of new aesthetics related to the spread of digital communication and the use of social networks.
On the occasion of the 2024 European elections, which will be held simultaneously with the course, students will be able to be involved in monitoring the electoral campaign and in meetings and workshops on the theme of the European elections.
An integral part of the course is the viewing and analysis of a wide range of original audiovisual propaganda materials such as films, commercials, television programs, posters, and web cards, which constitute teaching materials and the subject of examination.

The texts of the course will be communicated at the beginning of the lessons

In contemporary societies the arts affect the public discourse, becoming agency of social and cultural meanings, laboratory for the civil society, space and place for shaping the collective and public memories of controversial events, arenas 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 definitions 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", artistic intermediation processes and their social effects.
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia arts.

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

The course focuses on the study and analysis of images, with particular reference to the social components that intervene in the processes of signification. In the first part of the course students will be provided with analytical and methodological tools to analyze images and, in particular, photographs (mainly referring to the theories of Roland Barthes and Susan Sontag). In the second part, instead, specific attention will be given to their public and social use, with particular reference to the images of controversial past (wars, violence, terrorist attacks, migration, activism and revolutions).
Moreover, the following topics will be illustrated: a) the relation between memory and photography; b) the digital photography; c) selfie and social identities; d) photography as art; e) visual activism; f) sexuality and gender in advertisements; g) photography and representation of the Other.

1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Roland Barthes (1964), Image-Music-Text. (Translation 1977), capitolo II, “The Rhetoric of the Image”. S. Heath, ed. London: Fontana, pp. 32-51.
3) Susan Sontag (1973), On Photography, Capitolo I, "In Plato's Cave”, Rosetta Books, New York, pp. 1- 19.
4) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi, Torino, pp. 193-211.
5) Barbie Zelizer (2004), “The Voice of the Visual in Memory”, in Phillips R. Kendall (ed.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
6) Anna Lisa Tota (2013), “A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition”, in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, Piscaway, pp. 41-64.
7) Susie Linfield (2013), La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, Roma, pp. 10-46.
8) Merskin, Debra (2004), “Reviving Lolita? A Media Literacy Examination of Sexual Portrayals of Girls in Fashion Advertising”. American Behavioral Scientist 48, pp. 119-128

The articles and essays will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (personal webpage) and on the Moodle page of the course.

This course provides the students with the study of 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

Definition of Communication. 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 of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.
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.

Teaching material for the course “Psychology of Emotions and Multimodal Communication”, 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. Either choice B1 or choice B2

Choice B1.
Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.

Choice B2.
Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022:
chapters not to read: 1 – 4, 7-8, 13-14, 23, 38.
Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.


For those who take the course “Psychology of Emotions and Multimodal Communication” 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. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Mondadori, Milano 2022.
D. A text or set of text, chosen from the following items:

1. Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.
2. Nobile L. e Lombardi Vallauri E. : Onomatopea e fonosimbolismo. Carocci, Roma 2020.
3. Bonini T. e Perrotta M.: Che cos’è un podcast. Carocci, Roma 2023.
4. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
5. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
6. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
7. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
8. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
9. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
10. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
11. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
12. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
13. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
14. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
15. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
16. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019
17. Caruana F. e Viola M.: Come funzionano le emozioni. Bologna, Il Mulino.
18. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
19. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
20. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento. Bologna, Il Mulino.
21. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
22. Bambini V. Il cervello pragmatico. Roma, Carocci.
23. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
24. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

25. The following pair of books:
Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
+
Riva G.: I social network. Bologna, Il Mulino

26. The following pair of books:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
+
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

27. 4 papers on emotions to download from
https://www.researchgate.net/profile/Isabella_Poggi

28. 4 papers on multimodal communication to download from the following link
https://www.researchgate.net/profile/Isabella_Poggi


Teaching material for those who have to give the following exam: “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. Roma, Armando 2008.
C. One text or a set of texts, chosen among the following items:

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 on emotions, to be downloaded from the following link:
https://www.researchgate.net/profile/Isabella_Poggi


Teaching material for those who have to give the following exam: “Psychology of Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:


A. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.
B. One text or set of texts, chosen within the following items:

1. Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.
2. Nobile L. e Lombardi Vallauri E. : Onomatopea e fonosimbolismo. Carocci, Roma 2020.
3. Bonini T. e Perrotta M.: Che cos’è un podcast. Carocci, Roma 2023.
4. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
5. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
6. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
7. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
8. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
9. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento.
10. Bologna, Il Mulino. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
11. Bambini V. Il cervello pragmatico. Roma, Carocci.
12. Ferrari M. e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

13. The following pair of books:

a. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
b. Riva G.: I social network. Bologna, Il Mulino

14. The following pair of books:
a. Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
b. Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

15. 4 articles on multimodal communication among the following, to be downloaded here:
https://www.researchgate.net/profile/Isabella_Poggi

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

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

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

The developement of Benedetto Croce's Aesthetics from 1893 to 1913

B. Croce, Estetica come scienza dell'espressione e linguistica generale, Milano, Adelphi o Bari, Laterza (solo la Parte Teorica)
B. Croce, La storia ridotta sotto il concetto generale dell'arte, Milano, Adelphi
B. Croce, Breviario di estetica, Milano, Adelphi
P. D'Angelo Benedetto Croce. La biografia 1866-1918, Bologna, Il Mulino

Historical route:
Supported by some framing lessons, the student will study independently the most significant movements and authors of the twentieth century. A short list of compositions to listen to will be provided.
Focus:
The course will deepen some paths in U.S. music in the second half of the 20th century, without neglecting some pioneering figures such as Charles Ives, Henry Cowell or Conlon Nancarrow.

ELVIDIO SURIAN, Manuale di Storia della Musica, Vol. IV (Il Novecento), Milano, Rugginenti, 2002 integrated with Musica e società, 3: dal 1830 al 2000, a cura di Virgilio Bernardoni e Paolo Fabbri, Lucca, LIM, 2016, only cap. 12; the non-musically literate will avoid the study of the more technical sections of these manuals, replacing it with GIACOMO FRONZI, Percorsi musicali del Novecento. Storie, personaggi, poetiche da Schönberg a Sciarrino, Roma, Carocci, 2021.
Focus:
Itinerari della musica americana, a cura di Gianmario Borio e Gabrio Taglietti, Lucca, LIM, 1996 (rist. 2022).

The course will be made up of two 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 the Russians director Vsevolod Meyerhold will be analysed.

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

- Vsevolod Mejerchol'd, “Sul teatro. Scritti 1907-1912”, Roma, Dino Audino Editore, 2015.

- Vsevolod Mejerchol'd, "L'Ottobre Teatrale. 1918-1939", Imola, Cue Press, 2020.



FOR NON-ATTENDING STUDENTS:

- Angelo Maria Ripellino, “Il trucco e l'anima. I maestri della regia nel teatro russo del Novecento”, Torino, Einaudi Editore, 2002.

The course focuses on the study and analysis of images, with particular reference to the social components that intervene in the processes of signification. In the first part of the course students will be provided with analytical and methodological tools to analyze images and, in particular, photographs (mainly referring to the theories of Roland Barthes and Susan Sontag). In the second part, instead, specific attention will be given to their public and social use, with particular reference to the images of controversial past (wars, violence, terrorist attacks, migration, activism and revolutions).
Moreover, the following topics will be illustrated: a) the relation between memory and photography; b) the digital photography; c) selfie and social identities; d) photography as art; e) visual activism; f) sexuality and gender in advertisements; g) photography and representation of the Other.

1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Roland Barthes (1964), Image-Music-Text. (Translation 1977), capitolo II, “The Rhetoric of the Image”. S. Heath, ed. London: Fontana, pp. 32-51.
3) Susan Sontag (1973), On Photography, Capitolo I, "In Plato's Cave”, Rosetta Books, New York, pp. 1- 19.
4) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi, Torino, pp. 193-211.
5) Barbie Zelizer (2004), “The Voice of the Visual in Memory”, in Phillips R. Kendall (ed.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
6) Anna Lisa Tota (2013), “A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition”, in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, Piscaway, pp. 41-64.
7) Susie Linfield (2013), La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, Roma, pp. 10-46.
8) Merskin, Debra (2004), “Reviving Lolita? A Media Literacy Examination of Sexual Portrayals of Girls in Fashion Advertising”. American Behavioral Scientist 48, pp. 119-128

The articles and essays will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (personal webpage) and on the Moodle page of the course.

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;
T. Bonini, M. Perrotta, Che cos'è il podcast, Roma, Carocci, 2023;

più 3 tra questi 4 saggi:

- 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

- T. Bonini, E. Treré, F. Murtula, “Resistenza e solidarietà algoritmica nelle piattaforme digitali Un’indagine etnografica dei gruppi di engagement su Instagram”, Studi Culturali, XIX, 2, pp. 177-206, 2022

- M. Perrotta, From Niche to Mainstream. The emergence of a podcasting culture and market in the Italian radio context. In "The Routledge Companion to Radio and Podcast Studies", edited by Mia Lindberg and Jason Loviglio, London, Routledge, pp.418-428.

- N. Bilchi, Cinema e videogame. Narrazioni, estetiche, ibridazioni, Milano, Unicopli, 2019 (EXTRACT)
All materials will be distributed during class.

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 use of oral sources

- C. Sorba e F. Mazzini, La svolta culturale. Come è cambiata la pratica storiografica, Roma, Laterza, 2021 (184 pp., € 18,00)

- B. Bonomo, Voci della memoria, l’uso delle fonti orali nella ricerca storica, Roma, Carocci, 2015 (176 pp., € 18,00)

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

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

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

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

Definition of Communication. 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 of sincere and deceptive, cooperative and aggressive communication, and its uses in interpersonal interaction, at work, in education, politics, entertainment.
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.

Teaching material for the course “Psychology of Emotions and Multimodal Communication”, 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. Either choice B1 or choice B2

Choice B1.
Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.

Choice B2.
Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022:
chapters not to read: 1 – 4, 7-8, 13-14, 23, 38.
Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.


For those who take the course “Psychology of Emotions and Multimodal Communication” 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. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Mondadori, Milano 2022.
D. A text or set of text, chosen from the following items:

1. Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.
2. Nobile L. e Lombardi Vallauri E. : Onomatopea e fonosimbolismo. Carocci, Roma 2020.
3. Bonini T. e Perrotta M.: Che cos’è un podcast. Carocci, Roma 2023.
4. Castelfranchi C.: Che figura. Emozioni e immagine sociale. Il Mulino, Bologna 2005.
5. Nussbaum, M.: L’intelligenza delle emozioni. Il Mulino, Bologna 2013.
6. Matarazzo O. e Zammuner V. (a cura di): La regolazione delle emozioni. Il Mulino, Bologna 2012.
7. Ledoux J.: Il cervello emotivo. Baldini e Castoldi, Milano 2005.
8. Damasio A.R.: Emozione e coscienza. Adelphi, Milano 2010.
9. Miceli M. e Castelfranchi C.: Expectancy and Emotion. Oxford University Press, Oxford 2013.
10. D’Amico A.: Intelligenza emotiva e metaemotiva. Il Mulino, Bologna. 2018.
11. Palvarini P.: Le emozioni che rendono forti. Il lavoro con le emozioni in psicoterapia. Alpes Italia.
12. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
13. Levorato M.C.: Le emozioni della lettura. Mulino, Bologna, 1999.
14. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
15. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
16. Mado Proverbio A.: Neuroscienze cognitive della musica. Il cervello musicale tra arte e scienza. Bologna, Zanichelli 2019
17. Caruana F. e Viola M.: Come funzionano le emozioni. Bologna, Il Mulino.
18. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
19. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
20. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento. Bologna, Il Mulino.
21. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
22. Bambini V. Il cervello pragmatico. Roma, Carocci.
23. Nobile L. e Lombardi Vallauri E.: Onomatopea e fonosimbolismo. Roma, Carocci.
24. Ferrari M e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

25. The following pair of books:
Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
+
Riva G.: I social network. Bologna, Il Mulino

26. The following pair of books:
Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
+
Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

27. 4 papers on emotions to download from
https://www.researchgate.net/profile/Isabella_Poggi

28. 4 papers on multimodal communication to download from the following link
https://www.researchgate.net/profile/Isabella_Poggi


Teaching material for those who have to give the following exam: “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. Roma, Armando 2008.
C. One text or a set of texts, chosen among the following items:

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 on emotions, to be downloaded from the following link:
https://www.researchgate.net/profile/Isabella_Poggi


Teaching material for those who have to give the following exam: “Psychology of Multimodal Communication”, 6 Credits
The items to be studied for the oral exam are the following:


A. Poggi I.: Psicologia della comunicazione. La mente, il corpo, gli altri. Milano, Mondadori 2022.
B. One text or set of texts, chosen within the following items:

1. Poggi I.: Parlare con gli occhi. Lo sguardo come forma di comunicazione. Carocci, Roma 2023.
2. Nobile L. e Lombardi Vallauri E. : Onomatopea e fonosimbolismo. Carocci, Roma 2020.
3. Bonini T. e Perrotta M.: Che cos’è un podcast. Carocci, Roma 2023.
4. Bazzanella C.: Linguistica cognitiva. Un’introduzione. Laterza, Bari 2014.
5. Gallese V. e Guerra M.: Lo schermo empatico. Cinema e neuroscienze. Raffaello Cortina, Milano 2015.
6. Boulez P., Changeux J.P. e Manoury P.: I neuroni magici. Musica e cervello. Carocci, Roma 2016.
7. Cavalieri R. e Chiricò D.: Parlare, segnare. Introduzione alla fisiologia e alla patologia delle lingue verbali e dei segni. Bologna, Il Mulino.
8. Benedetti F.: L’effetto placebo. Breve viaggio tra mente e corpo. Roma, Carocci 2018.
9. Viale R.: Oltre il nudge. Libertà di scelta, felicità e comportamento.
10. Bologna, Il Mulino. Mortara Garavelli B. Il parlar figurato. Manualetto di figure retoriche. Bari, Laterza.
11. Bambini V. Il cervello pragmatico. Roma, Carocci.
12. Ferrari M. e Paladino P.: L'apprendimento della lingua straniera. Roma, Carocci.

13. The following pair of books:

a. Arielli E. e Bottazzini P.: Idee virali. Perché i pensieri si diffondono. Bologna, Il Mulino.
b. Riva G.: I social network. Bologna, Il Mulino

14. The following pair of books:
a. Cavazza N.: Pettegolezzi e reputazione. Bologna, Il Mulino.
b. Riva G.: Fake news: vivere e sopravvivere in un mondo post-verità. Bologna, Il Mulino

15. 4 articles on multimodal communication among the following, to be downloaded here:
https://www.researchgate.net/profile/Isabella_Poggi

The course will be made up of two 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 the Russians director Vsevolod Meyerhold will be analysed.

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

- Vsevolod Mejerchol'd, “Sul teatro. Scritti 1907-1912”, Roma, Dino Audino Editore, 2015.

- Vsevolod Mejerchol'd, "L'Ottobre Teatrale. 1918-1939", Imola, Cue Press, 2020.



FOR NON-ATTENDING STUDENTS:

- Angelo Maria Ripellino, “Il trucco e l'anima. I maestri della regia nel teatro russo del Novecento”, Torino, Einaudi Editore, 2002.

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;
T. Bonini, M. Perrotta, Che cos'è il podcast, Roma, Carocci, 2023;

più 3 tra questi 4 saggi:

- 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

- T. Bonini, E. Treré, F. Murtula, “Resistenza e solidarietà algoritmica nelle piattaforme digitali Un’indagine etnografica dei gruppi di engagement su Instagram”, Studi Culturali, XIX, 2, pp. 177-206, 2022

- M. Perrotta, From Niche to Mainstream. The emergence of a podcasting culture and market in the Italian radio context. In "The Routledge Companion to Radio and Podcast Studies", edited by Mia Lindberg and Jason Loviglio, London, Routledge, pp.418-428.

- N. Bilchi, Cinema e videogame. Narrazioni, estetiche, ibridazioni, Milano, Unicopli, 2019 (EXTRACT)
All materials will be distributed during class.

The program will consist of theoretical lessons and practical tests.

The first meeting will be dedicated to a brief history of the transformations that Italian journalism (and therefore film criticism) has experienced from the 70s onwards, also referring to the personal experiences of the teacher who began working in the editorial staff of a newspaper (" l’Unità”) starting from 1978. How pieces were written (and sent) before the arrival of digital, and how they are written today.

Other meetings (a couple, generally) will be dedicated to the example of in-depth analysis of a sequence (the incipit of Howard Hawks' film Rio Bravo a classic of western cinema) and to the analysis of a style common to cinema and to other arts (alternating editing, comparing the incipit of Sam Peckinpah's The Getaway and Georges Simenon's writing). The two lessons are aimed at providing examples of how a film is analyzed, both in terms of "immediate" journalistic criticism and non-fiction writing.

We will then analyze the various forms of journalistic writing that a critic, and in general a journalist who deals with cinema, can find himself facing.
1) Writing a short news story based on a press agency
2) Writing a film synopsis – plot summary – in various lengths
3) Writing an interview with a simulation of a press conference, with a guest - possibly a filmmaker - yet to be identified
4) Writing a review, double exercise on two different inputs: a short essay on a classic film, a strictly journalistic review on a film currently in theaters (with the possibility, for students, to practice on a film they have recently seen at Cinema)

We will also analyze examples of reviews, both "historical" and recent; a meeting will be dedicated to the discussion with a young critic - yet to be identified - and to the work of online criticism, which is particularly widespread today.

A meeting will be dedicated to the editorial "passage" of other people's texts: correcting, cutting, integrating, rewriting if necessary. An extremely delicate type of work, which can happen when working in the editorial office of a newspaper or magazine, both in print and online. Also in this case we will involve a professional editor.

The names of the three guests - filmmaker, critic, editor - will be communicated as soon as possible.

Books for the exam:
Alberto Pezzotta, La critica cinematografica, Carocci, 2007
Bianco e nero, rivista del Centro Sperimentale di Cinematografia, numero 593, 2019 dedicato a Bernardo Bertolucci
Bianco e nero, rivista del Centro Sperimentale di Cinematografia, numero 606, 2023 dedicato a Nanni Moretti
Gianni Amelio, Il vizio del cinema, Einaudi, 2004
Daniele Vicari, Il cinema l’immortale, Einaudi, 2022
Other bibliographic elements will be provided during the course.

Aim of the class is to investigate the ways in which film, and audiovisual narratives at large, produce an experience of landscape (urban, rural, natural). In order to do so, the course will adopt a diachronic and transnational approach, ranging from the silent era to today. The reflection about the technological metamorphoses of the cinematic medium (for example, the introduction of color photography or that of widescreen formats) will be intertwined with an intermedia perspective, connecting the discourse on film to the fields of painting, photography and cartography. Through the involvement of other critical categories crucial to the debate on spatiality (territory, environment, atmosphere), the class will reflect on the relationship between spatial perception and subjectivity, and on the complex layering of the spectatorial experience. Aesthetical observations will also be complemented by cultural, historical and political ones, analyzing landscape in connection with such phenomena as migration and climate change.

The syllabus with the final course program will be made available around the start of the course itself.

Collection of essays selected by the professor.

The 2023/2024 political communication course, in addition to the traditional fields of study, has an important moment of study and research in the European elections of May 2024.
The first part of the course is dedicated to the transformations within the modern public and political scene and to the most relevant theoretical contributions to political communication. The main areas of transformation of Italian political communication and its actors and the evolution of electoral campaigns will be examined.
The second part, dedicated to visual politics, analyzes the history and evolution of political graphics and aesthetic codes of Italian political propaganda from 1945 to today and the contacts and influences with the main artistic currents. This part includes the analysis and study of new aesthetics related to the spread of digital communication and the use of social networks.
On the occasion of the 2024 European elections, which will be held simultaneously with the course, students will be able to be involved in monitoring the electoral campaign and in meetings and workshops on the theme of the European elections.
An integral part of the course is the viewing and analysis of a wide range of original audiovisual propaganda materials such as films, commercials, television programs, posters, and web cards, which constitute teaching materials and the subject of examination.

The texts of the course will be communicated at the beginning of the lessons

In contemporary societies the arts affect the public discourse, becoming agency of social and cultural meanings, laboratory for the civil society, space and place for shaping the collective and public memories of controversial events, arenas 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 definitions 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", artistic intermediation processes and their social effects.
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia arts.

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

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 the docu-film "Viva Viviani" written and directed by Mario e Stefano Martone, 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) Ettore Petrolini, "Modestia a parte", a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
4) Eventuali materiali a cura del docente (caricati nella sezione “FILE” del corso sulla piattaforma TEAMS)
5) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: "Viva Viviani" di M. e S. Martone [the film will be screened during the lessons; the relative link will be available from 16 April]

NON ATTENDING STUDENTS:
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) Franca Angelini, Teatro e spettacolo nel primo Novecento, Bari-Roma, Laterza, 2009
4) Ettore Petrolini, Modestia a parte, a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
5) FILM: La tavola dei poveri di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: Viva Viviani di M. e S. Martone [the relative link will be available from 16 April]

This course proposes the study of some experiences that arose in the context of postwar Japanese avant-garde and that influenced international dance in the second half of the 20th century by transforming its principles and aesthetics and proposing a new philosophy of the body and movement. Through the observation of Butoh and its origins, the course will analyze the experiences of Japanese dancers who were active as performers and as pedagogues in Europe and the paths of some of their Western students will be observed, identifying the elements of continuity and rupture and highlighting the fruitful aspects of one of the great dance revolutions of the last century.

- Trasform'azioni – rassegna internazionale di danza butō. Fotografia di un'esperienza, a cura di Samantha Marenzi, Editoria & Spettacolo, Roma 2010
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra).
- La Maison du Butoh Blanc, Dossier a cura di Samantha Marenzi, "Teatro e Storia" n. 44, 2023
- Samantha Marenzi, Alessandra Cristiani (titolo provvisorio) Editoria & Spettacolo, Spoleto 2023. The volume is being printed, in case it is not published in time it will be replaced with lecture notes by the teacher

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 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 an operational 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 media studies and visual culture studies, to assess the effectiveness of some teaching strategies in the area of image education. Specific attention will be paid to: digital storytelling; educational tools; videoessay; desktop cinema; intercative documentary; social media in educational practices; EAS (Situated Learning Episodes).

Exam Bibliograhy:

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

Recommended Books:

- Pier Cesare Rivoltella, "Che cos'è un EAS. L'idea, il metodo, la didattica", Scholé, Brescia 2021
- Cristina Maurelli, "Video partecipativo. Fare cinema come strumento educativo: il metodo PVCODE", Dino Audino, Roma 2019
- Nicoletta Di Blas, "Storytelling digitale a scuola", Milano 2019

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.

Pier Cesare Rivoltella, Nuovi alfabeti. Educazione e culture nella società post-mediale, Scholé, Brescia, 2020.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop “Graffetta” of Viale Leonardo Da Vinci, n. 168.

For non-attendance students:
Henry Jenkins, Culture partecipative e competenze digitali. Media education per il XXI secolo, Guerini, Milano 2010.

FILM AND VIDEOGRAPHY:
feature films: Be Kind Rewind (2007) Michel Gondry; Rembrandt’s J’accuse (2008) Peter Greenaway; Shirley: Visions of Reality (2013) Gustav Deutsch;

short films, experimental videos, music videos: 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; Stereoscope (2008) Chaos Computer Club;

anthology of found footage films: 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-films: 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 video-essays: 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.

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

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

2. The monographic part includes:
Stefano De Matteis, Gli sciamani non ci salveranno.

Particularly focusing on the Fifteens and the Sixties, the course analyses Italian ethnographic documentary cinema and its most relevant directors. The second part of the class centers upon Cecilia Mangini’s films, also investigating her relationship with documentary and fiction cinema of that period and, more generally, the cultural production and the socio-cultural context of those years.

Required bibliography:
– Mattia Cinquegrani, Il cinema di Cecilia Mangini, Venezia, Marsilio, 2024.
– Selection of essays edited by the teacher (2 pdf files available on teacher's Moodle platform)

Required filmography:
Short-film
– Sioux Ghost Dance (William K.L. Dickson, 1894)
– Matrimonio abissino (Roberto Omegna, 1908)
– Matera (Romolo Marcellini, 1951)
– Trance and Dance in Bali (Margaret Mead, Gregory Bateson, 1952)
– La terra nuova (Francesco De Feo, 1952)
– Lamento funebre (Michele Gandin, 1953)
– Magia lucana (Luigi Di Gianni, 1958)
– Nascita e morte nel Meridione (Luigi Di Gianni, 1958)
– Ignoti alla città (Cecilia Mangini, 1958)
– La passione del grano (Lino Del Fra, 1960)
– L'inceppata (Lino Del Fra, 1960)
– Stendalì (Suonano ancora) (Cecilia Mangini, 1960)
– Maria e i giorni (Cecilia Mangini, 1960)
– La canta della marane (Cecilia Mangini, 1960)
– Divino Amore (Cecilia Mangini, 1960)
– La taranta (Gianfranco Mingozzi, 1961)
– Il male di San Donato (Luigi Di Gianni, 1965)

Full-lenght film:
– Siliva Zulu (Attilio Gatti, 1927)
– Man of Aran (L'uomo di Aran, Robert J. Flaherty, 1934)
– Domani vincerò (Cecilia Mangini, 1969)

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 the docu-film "Viva Viviani" written and directed by Mario e Stefano Martone, 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) Ettore Petrolini, "Modestia a parte", a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
4) Eventuali materiali a cura del docente (caricati nella sezione “FILE” del corso sulla piattaforma TEAMS)
5) FILM: "La tavola dei poveri" di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: "I dieci comandamenti" di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: "Viva Viviani" di M. e S. Martone [the film will be screened during the lessons; the relative link will be available from 16 April]

NON ATTENDING STUDENTS:
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) Franca Angelini, Teatro e spettacolo nel primo Novecento, Bari-Roma, Laterza, 2009
4) Ettore Petrolini, Modestia a parte, a c. di D. Orecchia e A. Petrini, Bari, Edizioni di Pagina, 2022
5) FILM: La tavola dei poveri di A. Blasetti [https://www.youtube.com/watch?v=dMBlyIUSYvo]
6) FILM: I dieci comandamenti di M. Martone [https://www.youtube.com/watch?v=C51GiSPMxrU]
7) FILM: Viva Viviani di M. e S. Martone [the relative link will be available from 16 April]

This course proposes the study of some experiences that arose in the context of postwar Japanese avant-garde and that influenced international dance in the second half of the 20th century by transforming its principles and aesthetics and proposing a new philosophy of the body and movement. Through the observation of Butoh and its origins, the course will analyze the experiences of Japanese dancers who were active as performers and as pedagogues in Europe and the paths of some of their Western students will be observed, identifying the elements of continuity and rupture and highlighting the fruitful aspects of one of the great dance revolutions of the last century.

- Trasform'azioni – rassegna internazionale di danza butō. Fotografia di un'esperienza, a cura di Samantha Marenzi, Editoria & Spettacolo, Roma 2010
- I corpi del Butō. Fotografie di danza tra Oriente e Occidente, a cura di Samantha Marenzi, Postcart, Roma 2018 (catalogo mostra).
- La Maison du Butoh Blanc, Dossier a cura di Samantha Marenzi, "Teatro e Storia" n. 44, 2023
- Samantha Marenzi, Alessandra Cristiani (titolo provvisorio) Editoria & Spettacolo, Spoleto 2023. The volume is being printed, in case it is not published in time it will be replaced with lecture notes by the teacher

The 2023/2024 political communication course, in addition to the traditional fields of study, has an important moment of study and research in the European elections of May 2024.
The first part of the course is dedicated to the transformations within the modern public and political scene and to the most relevant theoretical contributions to political communication. The main areas of transformation of Italian political communication and its actors and the evolution of electoral campaigns will be examined.
The second part, dedicated to visual politics, analyzes the history and evolution of political graphics and aesthetic codes of Italian political propaganda from 1945 to today and the contacts and influences with the main artistic currents. This part includes the analysis and study of new aesthetics related to the spread of digital communication and the use of social networks.
On the occasion of the 2024 European elections, which will be held simultaneously with the course, students will be able to be involved in monitoring the electoral campaign and in meetings and workshops on the theme of the European elections.
An integral part of the course is the viewing and analysis of a wide range of original audiovisual propaganda materials such as films, commercials, television programs, posters, and web cards, which constitute teaching materials and the subject of examination.

The texts of the course will be communicated at the beginning of the lessons

In contemporary societies the arts affect the public discourse, becoming agency of social and cultural meanings, laboratory for the civil society, space and place for shaping the collective and public memories of controversial events, arenas 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 definitions 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", artistic intermediation processes and their social effects.
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia arts.

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

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 “Media” offers an overview of the main social and cultural transformations due to the evolution of the mass media (press, radio, television) and the digital media (World Wide Web, social networks), focusing on the relationship between technology, individuals and society.
The first part is dedicated to studying the principal theories in media studies and sociology of the 20th century, starting from the elements involved in the communication process, such as sender, message, receiver, and media effects.
The second part is dedicated to the social, cultural and interpersonal transformations due to the development of the internet and social network sites, as spaces for new opportunities and, at the same time, as vehicles of new inequalities. Starting from the discussion of some case studies, such as WikiLeaks and Cambridge Analytica, the advent of ChatGPT and the use of AI, the contradictions and anomalies, advantages and opportunities offered by the new information and communication technologies, as well as the gradual transformation of the social and cultural models linked to the information and platform society will be discussed.

Materials to be defined.

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

1. A textbook for the general part:
Matthew Engelke, Pensare come un antropologo, Torino, Einaudi, 2018.
Stefano De Matteis, Il dilemma dell'aragosta. La forza della vulnerabilità, Milano, Meltemi, 2021.

2. The monographic part includes:
Stefano De Matteis, Gli sciamani non ci salveranno.

Particularly focusing on the Fifteens and the Sixties, the course analyses Italian ethnographic documentary cinema and its most relevant directors. The second part of the class centers upon Cecilia Mangini’s films, also investigating her relationship with documentary and fiction cinema of that period and, more generally, the cultural production and the socio-cultural context of those years.

Required bibliography:
– Mattia Cinquegrani, Il cinema di Cecilia Mangini, Venezia, Marsilio, 2024.
– Selection of essays edited by the teacher (2 pdf files available on teacher's Moodle platform)

Required filmography:
Short-film
– Sioux Ghost Dance (William K.L. Dickson, 1894)
– Matrimonio abissino (Roberto Omegna, 1908)
– Matera (Romolo Marcellini, 1951)
– Trance and Dance in Bali (Margaret Mead, Gregory Bateson, 1952)
– La terra nuova (Francesco De Feo, 1952)
– Lamento funebre (Michele Gandin, 1953)
– Magia lucana (Luigi Di Gianni, 1958)
– Nascita e morte nel Meridione (Luigi Di Gianni, 1958)
– Ignoti alla città (Cecilia Mangini, 1958)
– La passione del grano (Lino Del Fra, 1960)
– L'inceppata (Lino Del Fra, 1960)
– Stendalì (Suonano ancora) (Cecilia Mangini, 1960)
– Maria e i giorni (Cecilia Mangini, 1960)
– La canta della marane (Cecilia Mangini, 1960)
– Divino Amore (Cecilia Mangini, 1960)
– La taranta (Gianfranco Mingozzi, 1961)
– Il male di San Donato (Luigi Di Gianni, 1965)

Full-lenght film:
– Siliva Zulu (Attilio Gatti, 1927)
– Man of Aran (L'uomo di Aran, Robert J. Flaherty, 1934)
– Domani vincerò (Cecilia Mangini, 1969)

Aim of the class is to investigate the ways in which film, and audiovisual narratives at large, produce an experience of landscape (urban, rural, natural). In order to do so, the course will adopt a diachronic and transnational approach, ranging from the silent era to today. The reflection about the technological metamorphoses of the cinematic medium (for example, the introduction of color photography or that of widescreen formats) will be intertwined with an intermedia perspective, connecting the discourse on film to the fields of painting, photography and cartography. Through the involvement of other critical categories crucial to the debate on spatiality (territory, environment, atmosphere), the class will reflect on the relationship between spatial perception and subjectivity, and on the complex layering of the spectatorial experience. Aesthetical observations will also be complemented by cultural, historical and political ones, analyzing landscape in connection with such phenomena as migration and climate change.

The syllabus with the final course program will be made available around the start of the course itself.

Collection of essays selected by the professor.