French theatre of the 17th century

First semester

PROGRAM:

French theatre of the 17th century. This course focuses on the history of 17th and 18th century French literature, especially in relation to the features of the classical theatre, through the analysis of some emblematic texts and of two iconic movies (Molière by Ariane Mnouchkine and Il Don Giovanni by Losey).

SYLLABUS:

1. HISTORY OF LITERATURE :
Giovanni MACCHIA, La letteratura francese dal Rinascimento al Classicismo, any recent edition (a selection of chapters will be available for those who attend lessons on a regular basis)

2. PRIMARY WORKS:
- MOLIÈRE, Don Giovanni (bilingual edition) edited by Delia Gambelli, Marsilio, 1997 ;
- Wolfgang A. MOZART e Lorenzo DA PONTE, Il dissoluto punito o sia il Don Giovanni, in Lorenzo DA PONTE, Memorie- libretti-mozartiani, Garzanti, 2003;
- Jean RACINE, Fedra, bilingual edition, BUR, 2005.

3. TEXT SELECTION:
Other texts will be provided throughout.

4. CRITICISM:
Students must choose 3 texts (those attending lessons regularly only have to choose 2 texts) from the following list:
-Giovanni MACCHIA, Vita, avventure e morte di Don Giovanni, Adelphi, 1991;
-Cesare GARBOLI, Il “Dom Juan” di Molière, Adelphi, 2005;
-Roland BARTHES, Sur Racine, Seuil; trad. it. in Saggi critici, Einaudi, 1972;
-Jean-Louis BARRAULT, Mise en scène de “Phèdre”, Seuil, 1972;
- Francesco FIORENTINO, Il teatro francese del Seicento, Laterza, 2008;
-Appendice di MOLIÈRE, Don Giovanni, trad. it. S. Bajini, Garzanti, 1993.

5.FILMOGRAPHY:
Joseph LOSEY, Don Giovanni (1979). Movie adaptation of Mozart’s and Da Ponte’s opera. DVD;
Ariane MNOUCHKINE, Molière, (1978). DVD.


NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

SYLLABUS:

1. HISTORY OF LITERATURE :
Giovanni MACCHIA, La letteratura francese dal Rinascimento al Classicismo, any recent edition (a selection of chapters will be available for those who attend lessons on a regular basis)

2. PRIMARY WORKS:
- MOLIÈRE, Don Giovanni (bilingual edition) edited by Delia Gambelli, Marsilio, 1997 ;
- Wolfgang A. MOZART e Lorenzo DA PONTE, Il dissoluto punito o sia il Don Giovanni, in Lorenzo DA PONTE, Memorie- libretti-mozartiani, Garzanti, 2003;
- Jean RACINE, Fedra, bilingual edition, BUR, 2005.

3. TEXT SELECTION:
Other texts will be provided throughout.

4. CRITICISM:
Students must choose 3 texts (those attending lessons regularly only have to choose 2 texts) from the following list:
-Giovanni MACCHIA, Vita, avventure e morte di Don Giovanni, Adelphi, 1991;
-Cesare GARBOLI, Il “Dom Juan” di Molière, Adelphi, 2005;
-Roland BARTHES, Sur Racine, Seuil; trad. it. in Saggi critici, Einaudi, 1972;
-Jean-Louis BARRAULT, Mise en scène de “Phèdre”, Seuil, 1972;
- Francesco FIORENTINO, Il teatro francese del Seicento, Laterza, 2008;
-Appendice di MOLIÈRE, Don Giovanni, trad. it. S. Bajini, Garzanti, 1993.

5.FILMOGRAPHY:
Joseph LOSEY, Don Giovanni (1979). Movie adaptation of Mozart’s and Da Ponte’s opera. DVD;
Ariane MNOUCHKINE, Molière, (1978). DVD.


NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

From Visconti to De Sica, from Rossellini to Bertolucci to Ferreri, until the New-New Cinema (Sorrentino and Garrone), the course explores many case studies of the most famous period of Italian Cinema, investigating the directorial work, the camera movements, the cinematic language, combining the theoretical/historical approach with the technical one.

- Vito Zagarrio, Regie. La messa in scena del grande cinema italiano, Roma, Bulzoni, 2011.
- F. Montini, V. Zagarrio (a cura di), Istantanee sul cinema italiano. Film, volti, idee del nuovo millennio, Rubbettino, Soveria Mannelli, 2012.

CINEMA, ARTI ELETTRONICHE E INTERMEDIALI. 1963-2014. VIDEOARTE, ARTE, CINEMA: 50 ANNI DI INTERSEZIONI.

Theoric contextualization of electronic arts’s experience in chronologies and histories of the arts, in relationship with Cinema, Television, Sound and Arts histories

TEXTS:
- M. M. Gazzano, Kinema. Il cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno, Exorma, Roma 2012, 2015.
- A. Amaducci, Videoarte. Storia, autori, linguaggi, Kaplan, Torino 2014.

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

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

FILM: Presentation of video art works from the fifties to today, not available on the market .

In the first part of the Lab, different advertising techniques and strategies will be presented, showing how these change according to different media (drawing on many case studies, printed ads, TV commercials, web ads, etc. will be taken into consideration); a small sample of theoretical frameworks will be discussed and applied to specific advertisements; finally, the organization of the advertising industry will be illustrated, along with its main professional figures.
The second part of the Lab focuses on what is probably to be considered advertising’s main ‘resource’ and most longstanding weakness at the same time: the use of stereotypes. After addressing stereotypes in theoretical terms and explaining the reasons for their widespread use and ‘efficacy’, we will focus on three categories of stereotypes commonly found in advertisements: 1) gender and ‘heteronormativity’ (how are female and male subjects and bodies depicted in ads? What are the reasons for and the effects of privileging heterosexual couples?); 2) age (which products/services/goods is the use of elderly in advertising limited to? Are old women and old men ‘used’ in the same way?); 3) race (in which roles non-Caucasian people feature in in advertising images and discourse?). Several forms of communication, social and no-profit campaigns included, will be deconstructed and re-constructed in order to challenge common places and to analyze how (hetero)sexism, racism, and ageism work in advertising.
The Lab balances theory and practice. In both Part I and Part II, practical exercises will be proposed and students will be asked to analyze commercials or advertising campaigns and/or to develop their own.

Teaching material will be made available on the www.mediastudies.it website

The program envisages the draft of a business project, according to a fixed schedule, in which the student must explore the realistic feasibility of his business idea in its market, organizational and economic size.

In the classroom, shows the operating systems of an enterprise culture, especially theater, also in relation to other fields of cultural production, and the technical preparation of the project.

L. Argano, C. Brizzi, M. Frittelli, G. Marinelli "L'impresa di spettacolo dal vivo", Officina Editore, Roma, 2010

Professor’s lecture notes downloadable from the website : www.lucioargano.it.

French theatre of the 17th century

First semester

PROGRAM:

French theatre of the 17th century. This course focuses on the history of 17th and 18th century French literature, especially in relation to the features of the classical theatre, through the analysis of some emblematic texts and of two iconic movies (Molière by Ariane Mnouchkine and Il Don Giovanni by Losey).

SYLLABUS:

1. HISTORY OF LITERATURE :
Giovanni MACCHIA, La letteratura francese dal Rinascimento al Classicismo, any recent edition (a selection of chapters will be available for those who attend lessons on a regular basis)

2. PRIMARY WORKS:
- MOLIÈRE, Don Giovanni (bilingual edition) edited by Delia Gambelli, Marsilio, 1997 ;
- Wolfgang A. MOZART e Lorenzo DA PONTE, Il dissoluto punito o sia il Don Giovanni, in Lorenzo DA PONTE, Memorie- libretti-mozartiani, Garzanti, 2003;
- Jean RACINE, Fedra, bilingual edition, BUR, 2005.

3. TEXT SELECTION:
Other texts will be provided throughout.

4. CRITICISM:
Students must choose 3 texts (those attending lessons regularly only have to choose 2 texts) from the following list:
-Giovanni MACCHIA, Vita, avventure e morte di Don Giovanni, Adelphi, 1991;
-Cesare GARBOLI, Il “Dom Juan” di Molière, Adelphi, 2005;
-Roland BARTHES, Sur Racine, Seuil; trad. it. in Saggi critici, Einaudi, 1972;
-Jean-Louis BARRAULT, Mise en scène de “Phèdre”, Seuil, 1972;
- Francesco FIORENTINO, Il teatro francese del Seicento, Laterza, 2008;
-Appendice di MOLIÈRE, Don Giovanni, trad. it. S. Bajini, Garzanti, 1993.

5.FILMOGRAPHY:
Joseph LOSEY, Don Giovanni (1979). Movie adaptation of Mozart’s and Da Ponte’s opera. DVD;
Ariane MNOUCHKINE, Molière, (1978). DVD.


NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

SYLLABUS:

1. HISTORY OF LITERATURE :
Giovanni MACCHIA, La letteratura francese dal Rinascimento al Classicismo, any recent edition (a selection of chapters will be available for those who attend lessons on a regular basis)

2. PRIMARY WORKS:
- MOLIÈRE, Don Giovanni (bilingual edition) edited by Delia Gambelli, Marsilio, 1997 ;
- Wolfgang A. MOZART e Lorenzo DA PONTE, Il dissoluto punito o sia il Don Giovanni, in Lorenzo DA PONTE, Memorie- libretti-mozartiani, Garzanti, 2003;
- Jean RACINE, Fedra, bilingual edition, BUR, 2005.

3. TEXT SELECTION:
Other texts will be provided throughout.

4. CRITICISM:
Students must choose 3 texts (those attending lessons regularly only have to choose 2 texts) from the following list:
-Giovanni MACCHIA, Vita, avventure e morte di Don Giovanni, Adelphi, 1991;
-Cesare GARBOLI, Il “Dom Juan” di Molière, Adelphi, 2005;
-Roland BARTHES, Sur Racine, Seuil; trad. it. in Saggi critici, Einaudi, 1972;
-Jean-Louis BARRAULT, Mise en scène de “Phèdre”, Seuil, 1972;
- Francesco FIORENTINO, Il teatro francese del Seicento, Laterza, 2008;
-Appendice di MOLIÈRE, Don Giovanni, trad. it. S. Bajini, Garzanti, 1993.

5.FILMOGRAPHY:
Joseph LOSEY, Don Giovanni (1979). Movie adaptation of Mozart’s and Da Ponte’s opera. DVD;
Ariane MNOUCHKINE, Molière, (1978). DVD.


NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

GENERAL ASPECT OF THE PROGRAM. THE PSYCHIC TRAUMA. INDIVIDUAL TRAUMA AND COLLECTIVE TRAUMA. THE ELABORATION OF THE PSYCHIC TRAUMA. PROCESS OF MOURNING. MEMORY AND RESILIENCE.

SPECIFIC ASPECT OPF THE PROGRAM. THE ELABORATION OF THE TRAUMA OF THE HOLOCAUST IN THE SONS OF THE THIRD GENERATION.

PER IL CONSEGUIMENTO DI 6 CFU:

1. FREUD SIGMUND, LUTTO E MELANCONIA, IN OPERE COMPLETE SIGMUND FREUD (OSF), TORINO, BORIGNHIERI, 1985. (SI PUÒ CONSULTARE NELLA BIBLIOTECA DI FACOLTÀ).

2. FREUD SIGMUND, IL MOSÈ DI MICHELANGELO, IN OPERE COMPLETE SIGMUND FREUD (OSF), BOLLATI BORINGHIERI, TORINO. (SI PUÒ CONSULTARE IN BILIOTECA)

3. MEGHNAGI DAVID, RICOMPORRE L’INFRANTO. L’ESPERIENZA DEI SOPRAVVISSUTI ALLA SHOAH, VENEZIA, MARSILIO, 2005.
MEGHNAGI DAVID, IL PADRE E LA LEGGE (FREUD E L’EBRAISMO), VENEZIA, MARSILIO, 2004.


PER IL CONSEGUIMENTO DI 5 CFU.

CHI DEVE SOSTENERE IL PROGRAMMA DA 5 CFU NON È TENUTO A PORTARE IL MOSÈ DI MICHELANGELO DEL PROGRAMMA DEL TRIENNIO.


PER IL CONSEGUIMENTO DI 9 CFU.

PER CHI INTENDE SOSTENERE L’ESAME DI 9 CFU VANNO AGGIUNTI I SEGUENTI VOLUMI:

1. LEVI PRIMO, I SOMMERSI E I SALVATI, TORINO, EINAUDI, 1986.

2. MEGHNAGI DAVID, LE SFIDE DI ISRAELE, VENEZIA, MARSILIO 2010.

A confrontation of techniques, machines, language of Cinema.

Technical and critical analysis of the main “cinema” devices and impact on the language of audiovisual techniques, from the time of photography and film to that of the Web, as well as film and Tv broadcasting.


Notice:
Since the academic year 2016/2017 the program it's the same of 2015/2016

TEXTS:
- G. Balbi, P. Magaudda, Storia dei media digitali. Rivoluzioni e continuità, Laterza, Bari, 2014.
- G. Feyles, Il montaggio televisivo, Carocci, Roma 2010.
- C. Marra, Fotografia e arti visive, Carocci, Roma 2014.

(optionally)
- M. M. Gazzano, Kinema. Il cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno, Exorma, Roma 2012, 2015.
- M. M. Gazzano (a cura di), Edison studio. Il silent film e l’elettronica in relazione intermediale, Exorma, Roma 2012, 2014.
- P. Bertetto, La macchina del cinema, Laterza, Bari 2010.

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

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

FILM: Presentation of tv and video art works between the ’50s and today, otherwise not available.

The students will be trained about the following aspects of radio profession, from writing and production to presentation and promotion.
In particular, the themes of the workshop cover speech radio, music radio, podcasting and social media promotion.
The exam consists of a short interview about the book studied. Also, the student has to present a feature of his/her own design, with consultation with the professor during the workshop. The attendance is mandatory.

Bonini, T. (a cura di), La radio in Italia, Roma, Carocci, 2013.

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical works

“Classics”of Electronic Arts and Electronic Creative Image.

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

Notice
Since the academic year 2016/2017 the Laboratory is cancelled.

TEXTS:
- A. Amaducci, "Videoarte. Storia, autori, linguaggi", Kaplan, Torino 2014.
- V. Catricalà (a cura di), "Media Art. Torwards a new Definition of Arts in the Ages of Technology", Gli Ori - Fondazione Mondo Digitale, Roma 2015.
- V. Catricalà (a cura di), "Media Art. Per una nuova definizione delle arti nell'epoca della tecnologia", Exòrma, Roma 2016.
- L. Leuzzi, S. Patridge (a cura di), "Rewind - Italia. Early Video Art in Italy / I primi anni della videoarte in Italia", John Libbey, New barnet 2016.

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

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

After exposition of theoretical elements on the process of filmmaking (pre-production, production and post-production), the students will realize a short film, confront themselves with the problems of video-production.

There is not a final examination. Attendance at the lessons is mandatory and it determines the credit acquisition. There is not a course book

After exposition of theoretical elements on the process of filmmaking (pre-production, production and post-production), the students will realize a short film, confront themselves with the problems of video-production.

There is not a final examination. Attendance at the lessons is mandatory and it determines the credit acquisition. There is not a course book

The class aims at making an audiovisual product and will be split into three parts, each devoted to the three filmmaking production steps:

1. literary step (from the idea to the script); 2. production step (pre-preduction and shooting); 3. post-production step (video and sound editing).

Each of the three parts will consist of a brief theoretical introduction and of a lab workshop, including the use of the equipment available at the CPA.

None. It is essentially a practical workshop.

The class aims at making an audiovisual product and will be split into three parts, each devoted to the three filmmaking production steps:

1. literary step (from the idea to the script); 2. production step (pre-preduction and shooting); 3. post-production step (video and sound editing).

Each of the three parts will consist of a brief theoretical introduction and of a lab workshop, including the use of the equipment available at the CPA.

None. It is essentially a practical workshop.

BALANCED BETWEEN THEORY AND PRACTICE, THE WORKSHOP WILL SUBSTANTIALLY DIVIDED IN TWO PARTS (NOT NECESSARILY LISTS CHRONOLOGICALLY): A TESA TO AN UNDERSTANDING OF THE PHENOMENON IN QUESTION FROM A POINT OF VIEW SPECULATIVE / CRITICAL AND OTHER DIRECTLY DEDICATED TO KNOWLEDGE OF TECHNICAL INSTRUMENTS ( EDITING SOFTWARE, POST PRODUCTION AND ANIMATION WHICH ADOBE AFTER EFFECTS ADOBE PREMIERE AND MAXON CINEMA 4D) USED IN THE PRODUCTION OF DOCUMENTS AUDIOVISUAL CREATIVE AND ARTISTIC. A CONSIDERABLE PART OF HOURS IN THE CLASSROOM WILL ALSO FOCUSED ON THE VISION OF WORKS, THOSE HISTORICAL AND THOSE OF ARTISTS OF TODAY. STUDENTS will prove INTERESTED (EQUIPPED WELL AS KNOWLEDGE BASE) WILL END IN THE CHANCE TO MAKE ITS OWN DEVELOPED (INDIVIDUALLY OR GROUP) ENJOYS A CONSTANT TECHNICAL AND THEORY, OR TO TAKE PART, A DIFFERENT TITLE (OPERATOR SHOOT, EDITOR, PERFORMER, MUSICIAN, SPEAKER, GRAPHIC ETC.) FOR PROCESSING OF ARTWORK ARTIST TEACHER. ALTERNATIVE elaborate AUDIOVISUAL POTRÀCONSEGNARE A REPORT IS WRITTEN ABOUT THE CONTENTS.

TEXTS :
LA VIDEOARTE NEL MONDO DEL SOFTWARE, (A CURA DI) LINO STRANGIS, PALLADINO EDITORE
SOFTWARE CULTURE, LEV MANOVICH, OLIVARES
LE ARTI MULTIMEDIALI DIGITALI, (A CURA DI) ANNA MARIA MONTEVERDI E ANDREA BALZOLA, GARZANTI
KINEMA... IL CINEMA SULLE TRACCE DEL CINEMA, MARCO MARIA GAZZANO, EXORMA EDITORE
FILMOGRAFIA: OPERE VIDEOARTISTICHE STORICHE (I PIONIERI DELLA VIDEOARTE DAGLI ANNI 60 AGLI ANNI 90) E OPERE DEGLI ULTIMI ANNI SELEZIONATE DAL DOCENTE DAI PIÙ PRESTIGIOSI FESTIVAL INTERNAZIONALI.

Cultural anthropology today is no longer just the study of remote societies, but explores how people act and give meaning their actions in globalized world. The course deals with theory, method, and interpretation that this project demands. A part of course deals with communicative musicality and Festival.

(students attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.

(students not attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.
- A. Rossi, Lettere da una tarantata, Squilibri, Roma, 2015.

Module A
The first module will focus on the lexical and conceptual analysis of the themes of the course as they are displayed in Plato’s Teeteto and in Hume’s naturalism.

Module B
The second module will focus on the relationship between the theory of truth and the ontology as it is conceived by William James and Hilary Putnam.

Module A
1) Platone, Teeteto, a cura di A. M. Ioppolo, Laterza 1998.
2) D. Hume, Ricerca sull’intelletto umano, Laterza 2009.

Module B
1) Il pragmatismo. Dalle origini agli sviluppi contemporanei, a cura di R. M. Calcaterra, G. Maddalena, G. Marchetti, Carocci, 2015.
2) W. James, Il significato della verità, Aragno 2010.

The course introduces the most relevant theories of empirical research, with a specific focus on the conceptual background, on the methods and techniques of empirical research. Aim of the course is to shed light on the complex theoretical and empirical trajectories of empirical research in communication and on the ethical tensions that arise when doing research.

Schulz P. J., Diviani N., Fiordelli M. (2013) La ricerca empirica nelle scienze della comunicazione. Fondamenti, metodi e strumenti. Roma: Carocci.
Magaraggia S. (2014) Essere giovani e diventare genitori. Esperienze a confronto. Roma: Carocci (parte seconda).
Griswold W. (2009) Un framework metodologico per lo studio della cultura, in Santoro e Sassatelli, Studiare la cultura. Nuove prospettive sociologiche. Bologna: il Mulino (capitolo IX).

The course is aimed to explain formats, expressions and production forms of contemporary radio and television broadcasting in present days, characterized by a large amount of audiovisual contents proposed (pay o for free) to the audiences, available on a vast range of devices (TV screens, tablets, outdoor), both domestic and mobile. The audiovisual contents proposed by broadcasting media are also challenged by grassroots contents production and delivery through social network and YouTube.

E. Menduni, Radio e televisione nel XXI secolo, Roma-Bari, Laterza, 2016
E. Menduni, Il mondo della radio. Dal transistor ai social network. Seconda edizione riveduta, Bologna, il Mulino, 2012 (cover with purple belt, not red belt)

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it

Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

NEOREALISM
Program: Origins and development of neorealism: its relationship with Italian cinema of the '30s and its framing in the political, moral, cultural and artistic climate of the second Postwar. Production and reception modes. Plurality of ideologies, poetics, and styles. Contamination of genres. Neorealistic iconography. Forms of aesthetic renovation. The critical debate of the time. Historiographic reevaluations, critical rereadings and theoretical analyses from the 60s to today.

TEXTS: Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; Cesare Zavattini, Neorealismo ecc., a cura di Mino Argentieri, in Cesare Zavattini, Opere. Cinema, Bompiani, Milano 2002, pp. 595-1064; Paolo Noto, Francesco Pitassio, Il cinema neorealista, Archetipolibri, Bologna 2010; David Bruni, Roberto Rossellini. Roma città aperta, Lindau, Torino 2006.
FILMOGRAPHY: Ossessione (1943) di L.Visconti; Roma città aperta (1945) di R. Rossellini; Paisà (1946) di R. Rossellini; L'onorevole Angelina (1947) di L. Zampa; Germania anno zero (1948) di R: Rossellini; Ladri di biciclette (1948) di V. De Sica; La terra trema (1948) di L.Visconti; Senza pietà di A. Lattuada; Riso amaro (1949) di G. De Santis; Miracolo a Milano (1950) di V. De Sica; Il cammino della speranza (1950) di P. Germi; Bellissima (1951) di L. Visconti; Due soldi di speranza (1951) di R. Castellani; Roma ore 11 (1952) di G. De Santis; Umberto D. (1952) di V. De Sica; La signora senza camelie (1953) di M. Antonioni; Pane, amore e fantasia (1953) di L. Comencini; L'amore in città (1953) di Aa.Vv; La strada (1954) di F. Fellini; Il grido (1957) di M. Antonioni. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

Literature as falsehood: Giorgio Manganelli

a) chosen works by Giorgio Manganelli:

Agli dei ulteriori, Milano, Adelphi, 1989 + La palude definitiva, Milano, Adelphi, 1991 + Esperimento con l’India, Milano, Adelphi, 1992 + La letteratura come menzogna, Milano, Adelphi, 2004

b) a critic essay:

Graziella Pulce, Giorgio Manganelli. Figure e sistema, Firenze, LeMonnier, 2004 (or Giorgio Manganelli, a cura di Marco Belpoliti e Andrea Cortellessa [«Riga» 25], Milano, Marcos y Marcos, 2006)

c) for the context of italian literary history:
Giulio Ferroni, Storia della letteratura italiana, IVth volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

The course provides a general understanding of the main actors, rules and processes of the modern media system. The first part of the course is devoted to a brief history of Italian journalism in comparison with some of the major foreign models. The second part is devoted to the analysis of the main sectors of the Italian system of information - newspapers, television, radio, publishing, web - and to the structural and quantitative analysis of the market - investment, consumption, audiences-. The third part is devoted to the acquisition of basic knowledge of the vocabulary of journalism and of the treatment process of the news. The fourth part of the course is devoted to the impact of new media on the system of information and to new trends such as the citizen journalism and the Hybrid System News.
The course includes practical end theoretical exercises on various aspects pertaining to the production and the packaging of the news.

The examination program will be announced at the beginning of the course

The program is focused on two main topics. The first one is related with the new forms of fruition in the “post-cinematic” age of convergence. The second one is related to the new forms of complex narration, a relevant trend of the international cinema of the last two decades.

The complete program will be available at the beginning of the course.

Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Simone Moraldi, Questioni di campo-La relazione osservatore/osservato nella forma documentaria, Bulzoni, Roma, 2015



Filmography:
Nick Broomfield, Kurt and Courtney, Uk, 1998
Raymond Depardon, Profils paysans, (2001-2008)
Vittorio De Seta, Lettere dal Sahara, 2002
Leonardo Di Costanzo, A scuola, 2003
Robert Flaherty, Nanook of the North, 1922
Robert Kramer, Route One, 1989
Errol Morris, The Fog of War, 2003
Nicolas Philibert, Etre et avoir, 2002
Giovanni Piperno-Agostino Ferrente, Le cose belle, 2013

Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Simone Moraldi, Questioni di campo-La relazione osservatore/osservato nella forma documentaria, Bulzoni, Roma, 2015


Filmography:
Nick Broomfield, Kurt and Courtney, Uk, 1998
Raymond Depardon, Profils paysans, (2001-2008)
Vittorio De Seta, Lettere dal Sahara, 2002
Leonardo Di Costanzo, A scuola, 2003
Robert Flaherty, Nanook of the North, 1922
Robert Kramer, Route One, 1989
Errol Morris, The Fog of War, 2003
Nicolas Philibert, Etre et avoir, 2002
Giovanni Piperno-Agostino Ferrente, Le cose belle, 2013

Cultural anthropology today is no longer just the study of remote societies, but explores how people act and give meaning their actions in globalized world. The course deals with theory, method, and interpretation that this project demands. A part of course deals with communicative musicality and Festival.

(students attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.

(students not attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.
- A. Rossi, Lettere da una tarantata, Squilibri, Roma, 2015.

The course is divided in two sections, each composed of 9 lessons. The first is dedicated to the history of photography. The second analyses – in collaboration with Alessandra Mauro - the concept of Photographic Exhibition, starting from "War is Over!", the exhibition that both of them, together with Gabriele D'Autilia have curated, first in Rome, Palazzo Braschi, then in Milan, Spazio Forma.

Enrico Menduni, La fotografia, Bologna, Il Mulino, 2008, available also in e-book.
Alessandra Mauro, Paul-Louis Roubert, Photoshow: Landmark Exhibitions that Defined the History of Photography, London, Thames & Hudson, 2014
Gabriele D’Autilia ed Enrico Menduni (eds.), L’Italia della Liberazione nelle immagini dei U.S. Signal Corps e dell’Istituto Luce, 1943-1946, Roma, Contrasto, 2015-16 Both editions are eligible: red cover (Rome), blue cover (Milan).

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

The course is divided in two sections, each composed of 9 lessons. The first is dedicated to the history of photography. The second analyses – in collaboration with Alessandra Mauro - the concept of Photographic Exhibition, starting from "War is Over!", the exhibition that both of them, together with Gabriele D'Autilia have curated, first in Rome, Palazzo Braschi, then in Milan, Spazio Forma.

Enrico Menduni, La fotografia, Bologna, Il Mulino, 2008, available also in e-book.
Alessandra Mauro, Paul-Louis Roubert, Photoshow: Landmark Exhibitions that Defined the History of Photography, London, Thames & Hudson, 2014
Gabriele D’Autilia ed Enrico Menduni (eds.), L’Italia della Liberazione nelle immagini dei U.S. Signal Corps e dell’Istituto Luce, 1943-1946, Roma, Contrasto, 2015-16 Both editions are eligible: red cover (Rome), blue cover (Milan).

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

PROGRAM:
A) Lectures at DAMS University Roma3: 1) background information on the context of the contemporary prison; 2) items of information on the relationship between aesthetics and ethics with specific application to the context of the theater with social worth.
B) Workshop at the Theatre of the Rebibbia prison: 1) direct interaction with the work carried out by the inmates-actors at the Theatre of the Prison.
C) Each student must prepare a final report on the experience of the Laboratory.

During the workshop activity will be suggested some readings

Filmography
"Caesar Must Die" by Paolo and Vittorio Taviani.

PROGRAM: The first part will examine how TV production is changing in the new digital environment. The second part will focus on a particular stage of the production process : video editing. In addiction to the theoretical part, there will be exercises, visits to studios and television sets, meetings with professionals.

G. Feyles, Il montaggio televisivo, Carocci, Roma 2010
E. Menduni, A. Catolfi, Produrre tv. Dallo studio televisivo a Internet, Laterza, Roma 2009

History and art of the actor
(L-ART/05) credits 6 - Teacher: Stefano Geraci
Learning objectives: The course introduces the study of the actor in the European theatrical culture from the modern age to the twentieth century.
Programme. The art and the practices of the actors will be analyzed through the traces, the memories, the visual documents and their relationships with the life of the theaters.
TEXT BOOKS: Lecture notes edited by the teacher, (available at the beginning of the course on the site https://sites.google.com/com/site/stefanogeraci1);L. Jouvet, Lezioni su Molière, a cura di S.Geraci, Officina Edizioni, 2015 ; The non-attending students must add to the program one of the following books : Copeau, Artigiani di una tradizione vivente: l’attore e la pedagogia teatrale; a cura di Maria Ines Aliverti, La casa Usher, 2009; C. Dullin, La ricerca degli dei. Pedagogia di attore e professione di teatro, a cura di D. Seragnoli, ETS, 2005.
Oral examination 
E-MAIL geraci@uniroma3.it
LESSONS: semester II

TEXT BOOKS: Lecture notes edited by the teacher, (available at the beginning of the course on the site https://sites.google.com/com/site/stefanogeraci1);L. Jouvet, Lezioni su Molière, a cura di S.Geraci, Officina Edizioni, 2015 ; The non-attending students must add to the program one of the following books : Copeau, Artigiani di una tradizione vivente: l’attore e la pedagogia teatrale; a cura di Maria Ines Aliverti, La casa Usher, 2009; C. Dullin, La ricerca degli dei. Pedagogia di attore e professione di teatro, a cura di D. Seragnoli, ETS, 2005.

Module A
The first module will focus on the lexical and conceptual analysis of the themes of the course as they are displayed in Plato’s Teeteto and in Hume’s naturalism.

Module B
The second module will focus on the relationship between the theory of truth and the ontology as it is conceived by William James and Hilary Putnam.

Module A
1) Platone, Teeteto, a cura di A. M. Ioppolo, Laterza 1998.
2) D. Hume, Ricerca sull’intelletto umano, Laterza 2009.

Module B
1) Il pragmatismo. Dalle origini agli sviluppi contemporanei, a cura di R. M. Calcaterra, G. Maddalena, G. Marchetti, Carocci, 2015.
2) W. James, Il significato della verità, Aragno 2010.

This course offers students an in-depth look at the theoretical and methodological aspects of Cultural History. In particular, the class will be focused on the cultural and social factors of the transition to the contemporary age.

- P. BURKE, LA STORIA CULTURALE, BOLOGNA, IL MULINO, 2009, PP. 232, € 13,00
- S. KERN, IL TEMPO E LO SPAZIO. LA PERCEZIONE DEL MONDO TRA OTTO E NOVECENTO, BOLOGNA, IL MULINO, 2007, PP. 448, € 23,00

THE "PIXAR SYSTEM": TECHNOLOGY, AESTHETICS, IDEOLOGY

C. Uva, Cinema digitale. Teorie e pratiche, Le Lettere, Firenze, 2012.
P. Grandi, Pixar Story, Hoepli, 2014.

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical works

Cultural anthropology today is no longer just the study of remote societies, but explores how people act and give meaning their actions in globalized world. The course deals with theory, method, and interpretation that this project demands. A part of course deals with communicative musicality and Festival.

(students attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.

(students not attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.
- A. Rossi, Lettere da una tarantata, Squilibri, Roma, 2015.

GENERAL ASPECT OF THE PROGRAM. THE PSYCHIC TRAUMA. INDIVIDUAL TRAUMA AND COLLECTIVE TRAUMA. THE ELABORATION OF THE PSYCHIC TRAUMA. PROCESS OF MOURNING. MEMORY AND RESILIENCE.

SPECIFIC ASPECT OPF THE PROGRAM. THE ELABORATION OF THE TRAUMA OF THE HOLOCAUST IN THE SONS OF THE THIRD GENERATION.

PER IL CONSEGUIMENTO DI 6 CFU:

1. FREUD SIGMUND, LUTTO E MELANCONIA, IN OPERE COMPLETE SIGMUND FREUD (OSF), TORINO, BORIGNHIERI, 1985. (SI PUÒ CONSULTARE NELLA BIBLIOTECA DI FACOLTÀ).

2. FREUD SIGMUND, IL MOSÈ DI MICHELANGELO, IN OPERE COMPLETE SIGMUND FREUD (OSF), BOLLATI BORINGHIERI, TORINO. (SI PUÒ CONSULTARE IN BILIOTECA)

3. MEGHNAGI DAVID, RICOMPORRE L’INFRANTO. L’ESPERIENZA DEI SOPRAVVISSUTI ALLA SHOAH, VENEZIA, MARSILIO, 2005.
MEGHNAGI DAVID, IL PADRE E LA LEGGE (FREUD E L’EBRAISMO), VENEZIA, MARSILIO, 2004.


PER IL CONSEGUIMENTO DI 5 CFU.

CHI DEVE SOSTENERE IL PROGRAMMA DA 5 CFU NON È TENUTO A PORTARE IL MOSÈ DI MICHELANGELO DEL PROGRAMMA DEL TRIENNIO.


PER IL CONSEGUIMENTO DI 9 CFU.

PER CHI INTENDE SOSTENERE L’ESAME DI 9 CFU VANNO AGGIUNTI I SEGUENTI VOLUMI:

1. LEVI PRIMO, I SOMMERSI E I SALVATI, TORINO, EINAUDI, 1986.

2. MEGHNAGI DAVID, LE SFIDE DI ISRAELE, VENEZIA, MARSILIO 2010.

Module A
The first module will focus on the lexical and conceptual analysis of the themes of the course as they are displayed in Plato’s Teeteto and in Hume’s naturalism.

Module B
The second module will focus on the relationship between the theory of truth and the ontology as it is conceived by William James and Hilary Putnam.

Module A
1) Platone, Teeteto, a cura di A. M. Ioppolo, Laterza 1998.
2) D. Hume, Ricerca sull’intelletto umano, Laterza 2009.

Module B
1) Il pragmatismo. Dalle origini agli sviluppi contemporanei, a cura di R. M. Calcaterra, G. Maddalena, G. Marchetti, Carocci, 2015.
2) W. James, Il significato della verità, Aragno 2010.

The course introduces the most relevant theories of empirical research, with a specific focus on the conceptual background, on the methods and techniques of empirical research. Aim of the course is to shed light on the complex theoretical and empirical trajectories of empirical research in communication and on the ethical tensions that arise when doing research.

Schulz P. J., Diviani N., Fiordelli M. (2013) La ricerca empirica nelle scienze della comunicazione. Fondamenti, metodi e strumenti. Roma: Carocci.
Magaraggia S. (2014) Essere giovani e diventare genitori. Esperienze a confronto. Roma: Carocci (parte seconda).
Griswold W. (2009) Un framework metodologico per lo studio della cultura, in Santoro e Sassatelli, Studiare la cultura. Nuove prospettive sociologiche. Bologna: il Mulino (capitolo IX).

The course focus will be the cinematic and audiovisual theories which have un impact on the main international film practices, and particularly the theory of modernity in cinema.

REQUIRED BIBIOGRAPHY:

G. De Vincenti, Lo stile moderno. Alla radice del contemporaneo: cinema, video, rete, Bulzoni, Roma 2013

IN ADDITION ONE BOOK TO BE CHOSEN BETWEEN:
G. Anaclerio, Il corpo e il frammento, Bulzoni, Roma 2012
G. De Vincenti (a cura di), Bernardo Bertolucci, Marsilio, Venezia 2012


REQUIRED FILMOGRAPHY:

VIDEO:
G. De Vincenti, Il cinema moderno, Centro Produzione Audiovisivi - Università Roma Tre (available at Videoteca della Biblioteca delle Arti, sezione Spettacolo “Lino Miccichè”, via Ostiense 139)

FILMS:
R. Bresson, Journal d’un curé de campagne
H.-G. Clouzot, Le Mystère Picasso
C. Zavattini, Siamo donne
J. Renoir, La Carrozza d’oro
R. Rossellini, India matri bhumi
M. Antonioni, Professione: reporter
A. Resnais, Muriel ou le temps d’un retour
J. Rivette, La Belle Noiseuse
J.-M. Straub, D. Huillet, Quei loro incontri
J.-L. Godard, Passion
A. Fedorchenko, Silent Souls

The course focus will be the cinematic and audiovisual theories which have un impact on the main international film practices, and particularly the theory of modernity in cinema.

REQUIRED BIBIOGRAPHY:

G. De Vincenti, Lo stile moderno. Alla radice del contemporaneo: cinema, video, rete, Bulzoni, Roma 2013

IN ADDITION ONE BOOK TO BE CHOSEN BETWEEN:
G. Anaclerio, Il corpo e il frammento, Bulzoni, Roma 2012
G. De Vincenti (a cura di), Bernardo Bertolucci, Marsilio, Venezia 2012


REQUIRED FILMOGRAPHY:

VIDEO:
G. De Vincenti, Il cinema moderno, Centro Produzione Audiovisivi - Università Roma Tre (available at Videoteca della Biblioteca delle Arti, sezione Spettacolo “Lino Miccichè”, via Ostiense 139)

FILMS:
R. Bresson, Journal d’un curé de campagne
H.-G. Clouzot, Le Mystère Picasso
C. Zavattini, Siamo donne
J. Renoir, La Carrozza d’oro
R. Rossellini, India matri bhumi
M. Antonioni, Professione: reporter
A. Resnais, Muriel ou le temps d’un retour
J. Rivette, La Belle Noiseuse
J.-M. Straub, D. Huillet, Quei loro incontri
J.-L. Godard, Passion
A. Fedorchenko, Silent Souls

Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Simone Moraldi, Questioni di campo-La relazione osservatore/osservato nella forma documentaria, Bulzoni, Roma, 2015



Filmography:
Nick Broomfield, Kurt and Courtney, Uk, 1998
Raymond Depardon, Profils paysans, (2001-2008)
Vittorio De Seta, Lettere dal Sahara, 2002
Leonardo Di Costanzo, A scuola, 2003
Robert Flaherty, Nanook of the North, 1922
Robert Kramer, Route One, 1989
Errol Morris, The Fog of War, 2003
Nicolas Philibert, Etre et avoir, 2002
Giovanni Piperno-Agostino Ferrente, Le cose belle, 2013

Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Simone Moraldi, Questioni di campo-La relazione osservatore/osservato nella forma documentaria, Bulzoni, Roma, 2015


Filmography:
Nick Broomfield, Kurt and Courtney, Uk, 1998
Raymond Depardon, Profils paysans, (2001-2008)
Vittorio De Seta, Lettere dal Sahara, 2002
Leonardo Di Costanzo, A scuola, 2003
Robert Flaherty, Nanook of the North, 1922
Robert Kramer, Route One, 1989
Errol Morris, The Fog of War, 2003
Nicolas Philibert, Etre et avoir, 2002
Giovanni Piperno-Agostino Ferrente, Le cose belle, 2013

The course is divided in two sections, each composed of 9 lessons. The first is dedicated to the history of photography. The second analyses – in collaboration with Alessandra Mauro - the concept of Photographic Exhibition, starting from "War is Over!", the exhibition that both of them, together with Gabriele D'Autilia have curated, first in Rome, Palazzo Braschi, then in Milan, Spazio Forma.

Enrico Menduni, La fotografia, Bologna, Il Mulino, 2008, available also in e-book.
Alessandra Mauro, Paul-Louis Roubert, Photoshow: Landmark Exhibitions that Defined the History of Photography, London, Thames & Hudson, 2014
Gabriele D’Autilia ed Enrico Menduni (eds.), L’Italia della Liberazione nelle immagini dei U.S. Signal Corps e dell’Istituto Luce, 1943-1946, Roma, Contrasto, 2015-16 Both editions are eligible: red cover (Rome), blue cover (Milan).

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

The course is divided in two sections, each composed of 9 lessons. The first is dedicated to the history of photography. The second analyses – in collaboration with Alessandra Mauro - the concept of Photographic Exhibition, starting from "War is Over!", the exhibition that both of them, together with Gabriele D'Autilia have curated, first in Rome, Palazzo Braschi, then in Milan, Spazio Forma.

Enrico Menduni, La fotografia, Bologna, Il Mulino, 2008, available also in e-book.
Alessandra Mauro, Paul-Louis Roubert, Photoshow: Landmark Exhibitions that Defined the History of Photography, London, Thames & Hudson, 2014
Gabriele D’Autilia ed Enrico Menduni (eds.), L’Italia della Liberazione nelle immagini dei U.S. Signal Corps e dell’Istituto Luce, 1943-1946, Roma, Contrasto, 2015-16 Both editions are eligible: red cover (Rome), blue cover (Milan).

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

In the first part of the Lab, different advertising techniques and strategies will be presented, showing how these change according to different media (drawing on many case studies, printed ads, TV commercials, web ads, etc. will be taken into consideration); a small sample of theoretical frameworks will be discussed and applied to specific advertisements; finally, the organization of the advertising industry will be illustrated, along with its main professional figures.
The second part of the Lab focuses on what is probably to be considered advertising’s main ‘resource’ and most longstanding weakness at the same time: the use of stereotypes. After addressing stereotypes in theoretical terms and explaining the reasons for their widespread use and ‘efficacy’, we will focus on three categories of stereotypes commonly found in advertisements: 1) gender and ‘heteronormativity’ (how are female and male subjects and bodies depicted in ads? What are the reasons for and the effects of privileging heterosexual couples?); 2) age (which products/services/goods is the use of elderly in advertising limited to? Are old women and old men ‘used’ in the same way?); 3) race (in which roles non-Caucasian people feature in in advertising images and discourse?). Several forms of communication, social and no-profit campaigns included, will be deconstructed and re-constructed in order to challenge common places and to analyze how (hetero)sexism, racism, and ageism work in advertising.
The Lab balances theory and practice. In both Part I and Part II, practical exercises will be proposed and students will be asked to analyze commercials or advertising campaigns and/or to develop their own.

Teaching material will be made available on the www.mediastudies.it website

BALANCED BETWEEN THEORY AND PRACTICE, THE WORKSHOP WILL SUBSTANTIALLY DIVIDED IN TWO PARTS (NOT NECESSARILY LISTS CHRONOLOGICALLY): A TESA TO AN UNDERSTANDING OF THE PHENOMENON IN QUESTION FROM A POINT OF VIEW SPECULATIVE / CRITICAL AND OTHER DIRECTLY DEDICATED TO KNOWLEDGE OF TECHNICAL INSTRUMENTS ( EDITING SOFTWARE, POST PRODUCTION AND ANIMATION WHICH ADOBE AFTER EFFECTS ADOBE PREMIERE AND MAXON CINEMA 4D) USED IN THE PRODUCTION OF DOCUMENTS AUDIOVISUAL CREATIVE AND ARTISTIC. A CONSIDERABLE PART OF HOURS IN THE CLASSROOM WILL ALSO FOCUSED ON THE VISION OF WORKS, THOSE HISTORICAL AND THOSE OF ARTISTS OF TODAY. STUDENTS will prove INTERESTED (EQUIPPED WELL AS KNOWLEDGE BASE) WILL END IN THE CHANCE TO MAKE ITS OWN DEVELOPED (INDIVIDUALLY OR GROUP) ENJOYS A CONSTANT TECHNICAL AND THEORY, OR TO TAKE PART, A DIFFERENT TITLE (OPERATOR SHOOT, EDITOR, PERFORMER, MUSICIAN, SPEAKER, GRAPHIC ETC.) FOR PROCESSING OF ARTWORK ARTIST TEACHER. ALTERNATIVE elaborate AUDIOVISUAL POTRÀCONSEGNARE A REPORT IS WRITTEN ABOUT THE CONTENTS.

TEXTS :
LA VIDEOARTE NEL MONDO DEL SOFTWARE, (A CURA DI) LINO STRANGIS, PALLADINO EDITORE
SOFTWARE CULTURE, LEV MANOVICH, OLIVARES
LE ARTI MULTIMEDIALI DIGITALI, (A CURA DI) ANNA MARIA MONTEVERDI E ANDREA BALZOLA, GARZANTI
KINEMA... IL CINEMA SULLE TRACCE DEL CINEMA, MARCO MARIA GAZZANO, EXORMA EDITORE
FILMOGRAFIA: OPERE VIDEOARTISTICHE STORICHE (I PIONIERI DELLA VIDEOARTE DAGLI ANNI 60 AGLI ANNI 90) E OPERE DEGLI ULTIMI ANNI SELEZIONATE DAL DOCENTE DAI PIÙ PRESTIGIOSI FESTIVAL INTERNAZIONALI.

After exposition of theoretical elements on the process of filmmaking (pre-production, production and post-production), the students will realize a short film, confront themselves with the problems of video-production.

There is not a final examination. Attendance at the lessons is mandatory and it determines the credit acquisition. There is not a course book

The invention of the cinema, between science and ontology. Lumière, Méliès and the ‘way of primitive representation'. The affirmation of the "way of institutional representation" from Brighton school at Griffith. Ascent of Hollywood and birth of the genres: the slapstick comedy, Chaplin and Keaton. The avant-garde movements of the years '20 in France (abstraction, dadaism and surrealism). The german espressionism. Soviet Union (theory and practice of editing). The sound in the classic American cinema.

David Bordwell e Kristin Thompson, Storia del cinema. Un’introduzione, McGraw Hill, Milano, 2010 (dal capitolo I al capitolo X incluso).


Filmography: Selection of short films; Hugo Cabret (Martin Scorsese, 2011), Intolerance (D.W.Griffith, 1916), Sherlock Jr (B.Keaton, 1924), Das Cabinet des Dr.Caligari (R.Wiene, 1919), Metropolis ( F.Lang, 1926), Bronenosec Potëmkin (S.M. Ejzenstejn, 1926), City Lights (Charles Chaplin, 1931), Bringing up baby (Howard Hawks, 1938), Singing in the Rain ( Stanley Donen-Gene Kelly, 1952), La régle du jeu ( Jean Renoir, 1939), Citizen Kane ( Orson Welles, 1941)

European cinema after 1945: trends and authors. The classical Hollywood and the advent of television. International tendencies after the 50s. The “nouvelle vague” era and art film. The New Hollywood. The New German Cinema. Hollywood in the 80s: blockbuster and entertainment. The “digital cinema”. Contemporary art film.

BIBLIOGRAPHY
1) David Bordwell, Kristin Thompson, Storia del cinema. Un’introduzione, quarta edizione, McGraw-Hill, Milano 2014 (capitoli 11-20, pp. 173-472 + Appendice, pp. 525-548)
2) Vincenzo Buccheri, Il film. Dalla sceneggiatura alla distribuzione, Carocci, Roma 2003 (e succ.)

FILMOGRAPHY
La fuga (Dark Passage, Delmer Daves, 1947)
Ladri di biciclette (Vittorio De Sica, 1948)
Tōkiō Monogatari (Viaggio a Tokyo, Yasujirō Ozu, 1953)
La donna che visse due volte (Vertigo, Alfred Hitchcock, 1958)
Hiroshima mon amour (Id., Alais Resnais, 1959)
Fino all'ultimo respiro (À bout de souffle, Jean-Luc Godard, 1960)
Persona (Id., Ingmar Bergman, 1966)
Solaris (Id., Andrej Tarkovskij, 1972)
La conversazione (The Conversation, Francis Ford Coppola, 1974)
Professione: reporter (The Passenger, Michelangelo Antonioni, 1975)
Taxi Driver (Id., Martin Scorsese, 1976)
Il cielo sopra Berlino (Der Himmel über Berlin, Wim Wenders, 1987)
Jurassic Park (Id., Steven Spielberg, 1993)
Hong Kong Express (Chungking express, Wong Kar-wai, 1994)
Matrix (The Matrix, Lana e Andy Wachowski, 1999)
Mulholland Dr. (Id., David Lynch, 2001)

THE NEOREALISM. MODERN CINEMA AND NOTION OF AUTHORSHIP. THE NOUVELLE VAGUE. THE ITALIAN CINEMA OF ‘60S. THE NEW HOLLYWOOD. CONTEMPORARY CINEMA. FOCUS ON ITALIAN POLITICAL CINEMA.

1. D. BORDWELL, K. THOMPSON, STORIA DEL CINEMA. UN’INTRODUZIONE, MCGRAW-HILL, MILANO 2014 (CAPP. DA 11 A 20 INCLUSI).
2. C. UVA (A CURA DI), DAMIANO DAMIANI. POLITICA DI UN AUTORE, BULZONI, ROMA 2014.

Module A
The first module will focus on the lexical and conceptual analysis of the themes of the course as they are displayed in Plato’s Teeteto and in Hume’s naturalism.

Module B
The second module will focus on the relationship between the theory of truth and the ontology as it is conceived by William James and Hilary Putnam.

Module A
1) Platone, Teeteto, a cura di A. M. Ioppolo, Laterza 1998.
2) D. Hume, Ricerca sull’intelletto umano, Laterza 2009.

Module B
1) Il pragmatismo. Dalle origini agli sviluppi contemporanei, a cura di R. M. Calcaterra, G. Maddalena, G. Marchetti, Carocci, 2015.
2) W. James, Il significato della verità, Aragno 2010.

This course offers students an in-depth look at the theoretical and methodological aspects of Cultural History. In particular, the class will be focused on the cultural and social factors of the transition to the contemporary age.

- P. BURKE, LA STORIA CULTURALE, BOLOGNA, IL MULINO, 2009, PP. 232, € 13,00
- S. KERN, IL TEMPO E LO SPAZIO. LA PERCEZIONE DEL MONDO TRA OTTO E NOVECENTO, BOLOGNA, IL MULINO, 2007, PP. 448, € 23,00

NEOREALISM
Program: Origins and development of neorealism: its relationship with Italian cinema of the '30s and its framing in the political, moral, cultural and artistic climate of the second Postwar. Production and reception modes. Plurality of ideologies, poetics, and styles. Contamination of genres. Neorealistic iconography. Forms of aesthetic renovation. The critical debate of the time. Historiographic reevaluations, critical rereadings and theoretical analyses from the 60s to today.

TEXTS: Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; Cesare Zavattini, Neorealismo ecc., a cura di Mino Argentieri, in Cesare Zavattini, Opere. Cinema, Bompiani, Milano 2002, pp. 595-1064; Paolo Noto, Francesco Pitassio, Il cinema neorealista, Archetipolibri, Bologna 2010; David Bruni, Roberto Rossellini. Roma città aperta, Lindau, Torino 2006.
FILMOGRAPHY: Ossessione (1943) di L.Visconti; Roma città aperta (1945) di R. Rossellini; Paisà (1946) di R. Rossellini; L'onorevole Angelina (1947) di L. Zampa; Germania anno zero (1948) di R: Rossellini; Ladri di biciclette (1948) di V. De Sica; La terra trema (1948) di L.Visconti; Senza pietà di A. Lattuada; Riso amaro (1949) di G. De Santis; Miracolo a Milano (1950) di V. De Sica; Il cammino della speranza (1950) di P. Germi; Bellissima (1951) di L. Visconti; Due soldi di speranza (1951) di R. Castellani; Roma ore 11 (1952) di G. De Santis; Umberto D. (1952) di V. De Sica; La signora senza camelie (1953) di M. Antonioni; Pane, amore e fantasia (1953) di L. Comencini; L'amore in città (1953) di Aa.Vv; La strada (1954) di F. Fellini; Il grido (1957) di M. Antonioni. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

Study meetings and laboratory meetings dedicated to specific areas of puppet theatre framed by scholars, artists and teachers both from an historiographical point of view and from the scenic practice's perspective. The objective is to analyse the “living” puppet theatre, its expressive possibilities and, at the same time, the great traditions included in it, that today live renewing themselves. So, traditions and crafts, but also history and modernity of a living theatre. Material theatre and, at the same time, theatre of history and memory.

Da concordare con il docente (tramite mail: valentina.venturini@uniroma3.it)

Contemporary French Literature
6cfu. Optional module
Second semester

PROGRAM:

Jean Cayrol e Jean Genet, two authors compared. Starting from the definition of the sacred by Georges Bataille, this course analyses the different forms that this notion acquires in the theatrical works of the two authors, who have been both deeply changed by the experience of prison: Cayrol, who was deported in a concentration camp, is the father of the ‘Lazarian’ literature and theatre. Jean Genet, who was sentenced to jail for theft, has been the interpreter of the misfit and of the outsider, with a privileged attention paid to sexual transgressions.

SYLLABUS

1. HISTORY OF LITERATURE:
1. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters III to IX).

2. PRIMARY WORKS:
Jean Cayrol, Lazzaro fra di noi, edited by Marina Galletti, Trieste. Nonostante, 2015
Jean Genet; Sorveglianza speciale; I paraventi. Introduction by Gian Renzo Marteo ; translation by Giorgio Caproni,Torino : Einaudi, 1987.
Jean Genet, Le serve. Introduction by Jean-Paul Sartre; Translation by Giorgio Caproni Torino, Einaudi, 1982.
Albet Camus, Stato d’assedio, Milano, Bompiani, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4.CRITICISM
- AA.VV., Jean Cayrol, dalla notte e dalla nebbia. La scritura dell’esperienza concentrazionaria a cura di Marina Galleti, Torino, Kaplan, 2010
- AA.VV., Jean Genet La scrittura della rivolta edited by Marina Galletti e Ilaria Rigano, Editoria e teatro, 2015.
Students who do not attend lessons regularly also need to study:
- L’immoralità leggendaria. Il teatro di Jean Genet, a cura di Sergio Colomba e Albert Dichy, Ubulibri, 1990.
- Georges Bataille, La nozione di dispendio a cura di Elena Pulcini, Armando.
- Marina Galletti, Alle origini del teatro lazzariano: “L’état de siège” di Albert Camus e “Le diable qui n’est à persone” di Cayrol, in Un’idea di Francia. Scritti per Gianfranco Rubino, a cura di Anna Maria Scaiola, Vecchiarelli, Manziana (Roma), 2013, pp. 109-118.
- Margareth, Amatulli, La nebbia della storia, Jean Cayrol e la scrittura del ritorno, in Lazzaro risorto, Trieste, Parnaso, 2000.

5. FILMOGRAPHY:
- Alain Resnais, Muriel ou le temps d’un retour (1963). Script by Jean Cayrol (tr. it. Muriel il tempo del ritorno, Ripley’s Home video (dvd), 2005.
-Alain Resnais, Nuit et brouillard. Script by Jean Cayrol (tr. it.: Notte e nebbia, Ripley’s Home video (dvd), 2007.

NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

SYLLABUS

1. HISTORY OF LITERATURE:
1. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters III to IX).

2. PRIMARY WORKS:
Jean Cayrol, Lazzaro fra di noi, edited by Marina Galletti, Trieste. Nonostante, 2015
Jean Genet; Sorveglianza speciale; I paraventi. Introduction by Gian Renzo Marteo ; translation by Giorgio Caproni,Torino : Einaudi, 1987.
Jean Genet, Le serve. Introduction by Jean-Paul Sartre; Translation by Giorgio Caproni Torino, Einaudi, 1982.
Albet Camus, Stato d’assedio, Milano, Bompiani, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4.CRITICISM
- AA.VV., Jean Cayrol, dalla notte e dalla nebbia. La scritura dell’esperienza concentrazionaria a cura di Marina Galleti, Torino, Kaplan, 2010
- AA.VV., Jean Genet La scrittura della rivolta edited by Marina Galletti e Ilaria Rigano, Editoria e teatro, 2015.
Students who do not attend lessons regularly also need to study:
- L’immoralità leggendaria. Il teatro di Jean Genet, a cura di Sergio Colomba e Albert Dichy, Ubulibri, 1990.
- Georges Bataille, La nozione di dispendio a cura di Elena Pulcini, Armando.
- Marina Galletti, Alle origini del teatro lazzariano: “L’état de siège” di Albert Camus e “Le diable qui n’est à persone” di Cayrol, in Un’idea di Francia. Scritti per Gianfranco Rubino, a cura di Anna Maria Scaiola, Vecchiarelli, Manziana (Roma), 2013, pp. 109-118.
- Margareth, Amatulli, La nebbia della storia, Jean Cayrol e la scrittura del ritorno, in Lazzaro risorto, Trieste, Parnaso, 2000.

5. FILMOGRAPHY:
- Alain Resnais, Muriel ou le temps d’un retour (1963). Script by Jean Cayrol (tr. it. Muriel il tempo del ritorno, Ripley’s Home video (dvd), 2005.
-Alain Resnais, Nuit et brouillard. Script by Jean Cayrol (tr. it.: Notte e nebbia, Ripley’s Home video (dvd), 2007.

NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical works

ART AND MEDIA: 1950-2000

In the second half of the XXth Century, artistic movements definitively dismantled the notion of the “specificity” of the medium (painting, sculpture etc.), one of the pillars of the modernist aesthetic. From new dada to pop art, from Fluxus to the movements born in the second half of the 1960s, to postmodernist practiced based on appropriation, distinctions between media were abolished and replaced by creative practices in which conceptual, allegorical and performative elements imposed a radical redefinition of the work of art through the annexation of new media (photography, film, video, digital images).
The course deals with key moments of this process from the1850s to the 1970s through close examination of key works from the period, and readings of critical essays on the subject.

General reference:

• Denys Riout, L’arte del ventesimo secolo, Einaudi, Torino 2002; part II (p. 111-189) and IV (p. 253-331).

Essays:

• Roberto Diodato, Antonio Somaini (a cura di), Estetica dei media e della comunicazione, Il Mulino (chapter: "I media come estensioni e come metafore: Marshall McLuhan")
• Walter Benjamin, Aura e choc, Einaudi (parti scelte: Introduzione di A. Pinotti e A. Somaini; Piccola storia della fotografia)
• Jonathan Crary, Le tecniche dell'osservatore, Einaudi 2013, IV capitolo, pp. 102-140

Films:

• Andy Warhol, Sleep; Kiss (1963); Eat; Empire; Screen Tests (1964)
• Stan Brakhage, Dog Star Man (1962)
• Chris Marker, La Jetée (1963)


Suggested textbook:

• Hal Foster et al., Arte since 1900, new edition 2013 (chronology 1950-2000)

See the program of the course given to Storia e Conservazione del Patrimonio Artistico e Archeologico Students. Students attending a 6 CFU course must study from 1400 to Leonardo included.

See the bibliography of the course given to Storia e Conservazione del Patrimonio Artistico e Archeologico Students. reading of one of the suggested texts is requested as well.

The course focus will be the cinematic and audiovisual theories which have un impact on the main international film practices, and particularly the theory of modernity in cinema.

REQUIRED BIBIOGRAPHY:

G. De Vincenti, Lo stile moderno. Alla radice del contemporaneo: cinema, video, rete, Bulzoni, Roma 2013

IN ADDITION ONE BOOK TO BE CHOSEN BETWEEN:
G. Anaclerio, Il corpo e il frammento, Bulzoni, Roma 2012
G. De Vincenti (a cura di), Bernardo Bertolucci, Marsilio, Venezia 2012


REQUIRED FILMOGRAPHY:

VIDEO:
G. De Vincenti, Il cinema moderno, Centro Produzione Audiovisivi - Università Roma Tre (available at Videoteca della Biblioteca delle Arti, sezione Spettacolo “Lino Miccichè”, via Ostiense 139)

FILMS:
R. Bresson, Journal d’un curé de campagne
H.-G. Clouzot, Le Mystère Picasso
C. Zavattini, Siamo donne
J. Renoir, La Carrozza d’oro
R. Rossellini, India matri bhumi
M. Antonioni, Professione: reporter
A. Resnais, Muriel ou le temps d’un retour
J. Rivette, La Belle Noiseuse
J.-M. Straub, D. Huillet, Quei loro incontri
J.-L. Godard, Passion
A. Fedorchenko, Silent Souls

Introduction to the history of dance and image analysis. Identification of the aesthetics and techniques of movement representation.

Elena Cervellati, La danza in scena. Storia di un'arte dal Medioevo a oggi, Bruno Mondadori, Milano 2009; Claudia Cieri Via, Introduzione a Aby Warburg, Laterza, Bari 2011; Papers edited by the teacher available to download at http://www.iconografiadelteatroedelladanza.it/dispense/
Those who do not attend the lessons must add Isadora Duncan, L'Arte della Danza, a cura di E.B. Nomellini e P. Veroli, L'Epos, Palermo 2007 or Sergio Trombetta, Vaslav Nižinskij, L'Epos, Palermo 2008.

The course focus will be the cinematic and audiovisual theories which have un impact on the main international film practices, and particularly the theory of modernity in cinema.

REQUIRED BIBIOGRAPHY:

G. De Vincenti, Lo stile moderno. Alla radice del contemporaneo: cinema, video, rete, Bulzoni, Roma 2013

IN ADDITION ONE BOOK TO BE CHOSEN BETWEEN:
G. Anaclerio, Il corpo e il frammento, Bulzoni, Roma 2012
G. De Vincenti (a cura di), Bernardo Bertolucci, Marsilio, Venezia 2012


REQUIRED FILMOGRAPHY:

VIDEO:
G. De Vincenti, Il cinema moderno, Centro Produzione Audiovisivi - Università Roma Tre (available at Videoteca della Biblioteca delle Arti, sezione Spettacolo “Lino Miccichè”, via Ostiense 139)

FILMS:
R. Bresson, Journal d’un curé de campagne
H.-G. Clouzot, Le Mystère Picasso
C. Zavattini, Siamo donne
J. Renoir, La Carrozza d’oro
R. Rossellini, India matri bhumi
M. Antonioni, Professione: reporter
A. Resnais, Muriel ou le temps d’un retour
J. Rivette, La Belle Noiseuse
J.-M. Straub, D. Huillet, Quei loro incontri
J.-L. Godard, Passion
A. Fedorchenko, Silent Souls

Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Simone Moraldi, Questioni di campo-La relazione osservatore/osservato nella forma documentaria, Bulzoni, Roma, 2015



Filmography:
Nick Broomfield, Kurt and Courtney, Uk, 1998
Raymond Depardon, Profils paysans, (2001-2008)
Vittorio De Seta, Lettere dal Sahara, 2002
Leonardo Di Costanzo, A scuola, 2003
Robert Flaherty, Nanook of the North, 1922
Robert Kramer, Route One, 1989
Errol Morris, The Fog of War, 2003
Nicolas Philibert, Etre et avoir, 2002
Giovanni Piperno-Agostino Ferrente, Le cose belle, 2013

Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Simone Moraldi, Questioni di campo-La relazione osservatore/osservato nella forma documentaria, Bulzoni, Roma, 2015


Filmography:
Nick Broomfield, Kurt and Courtney, Uk, 1998
Raymond Depardon, Profils paysans, (2001-2008)
Vittorio De Seta, Lettere dal Sahara, 2002
Leonardo Di Costanzo, A scuola, 2003
Robert Flaherty, Nanook of the North, 1922
Robert Kramer, Route One, 1989
Errol Morris, The Fog of War, 2003
Nicolas Philibert, Etre et avoir, 2002
Giovanni Piperno-Agostino Ferrente, Le cose belle, 2013

The course is divided in two sections, each composed of 9 lessons. The first is dedicated to the history of photography. The second analyses – in collaboration with Alessandra Mauro - the concept of Photographic Exhibition, starting from "War is Over!", the exhibition that both of them, together with Gabriele D'Autilia have curated, first in Rome, Palazzo Braschi, then in Milan, Spazio Forma.

Enrico Menduni, La fotografia, Bologna, Il Mulino, 2008, available also in e-book.
Alessandra Mauro, Paul-Louis Roubert, Photoshow: Landmark Exhibitions that Defined the History of Photography, London, Thames & Hudson, 2014
Gabriele D’Autilia ed Enrico Menduni (eds.), L’Italia della Liberazione nelle immagini dei U.S. Signal Corps e dell’Istituto Luce, 1943-1946, Roma, Contrasto, 2015-16 Both editions are eligible: red cover (Rome), blue cover (Milan).

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

The course is divided in two sections, each composed of 9 lessons. The first is dedicated to the history of photography. The second analyses – in collaboration with Alessandra Mauro - the concept of Photographic Exhibition, starting from "War is Over!", the exhibition that both of them, together with Gabriele D'Autilia have curated, first in Rome, Palazzo Braschi, then in Milan, Spazio Forma.

Enrico Menduni, La fotografia, Bologna, Il Mulino, 2008, available also in e-book.
Alessandra Mauro, Paul-Louis Roubert, Photoshow: Landmark Exhibitions that Defined the History of Photography, London, Thames & Hudson, 2014
Gabriele D’Autilia ed Enrico Menduni (eds.), L’Italia della Liberazione nelle immagini dei U.S. Signal Corps e dell’Istituto Luce, 1943-1946, Roma, Contrasto, 2015-16 Both editions are eligible: red cover (Rome), blue cover (Milan).

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

In the first part of the Lab, different advertising techniques and strategies will be presented, showing how these change according to different media (drawing on many case studies, printed ads, TV commercials, web ads, etc. will be taken into consideration); a small sample of theoretical frameworks will be discussed and applied to specific advertisements; finally, the organization of the advertising industry will be illustrated, along with its main professional figures.
The second part of the Lab focuses on what is probably to be considered advertising’s main ‘resource’ and most longstanding weakness at the same time: the use of stereotypes. After addressing stereotypes in theoretical terms and explaining the reasons for their widespread use and ‘efficacy’, we will focus on three categories of stereotypes commonly found in advertisements: 1) gender and ‘heteronormativity’ (how are female and male subjects and bodies depicted in ads? What are the reasons for and the effects of privileging heterosexual couples?); 2) age (which products/services/goods is the use of elderly in advertising limited to? Are old women and old men ‘used’ in the same way?); 3) race (in which roles non-Caucasian people feature in in advertising images and discourse?). Several forms of communication, social and no-profit campaigns included, will be deconstructed and re-constructed in order to challenge common places and to analyze how (hetero)sexism, racism, and ageism work in advertising.
The Lab balances theory and practice. In both Part I and Part II, practical exercises will be proposed and students will be asked to analyze commercials or advertising campaigns and/or to develop their own.

Teaching material will be made available on the www.mediastudies.it website

BALANCED BETWEEN THEORY AND PRACTICE, THE WORKSHOP WILL SUBSTANTIALLY DIVIDED IN TWO PARTS (NOT NECESSARILY LISTS CHRONOLOGICALLY): A TESA TO AN UNDERSTANDING OF THE PHENOMENON IN QUESTION FROM A POINT OF VIEW SPECULATIVE / CRITICAL AND OTHER DIRECTLY DEDICATED TO KNOWLEDGE OF TECHNICAL INSTRUMENTS ( EDITING SOFTWARE, POST PRODUCTION AND ANIMATION WHICH ADOBE AFTER EFFECTS ADOBE PREMIERE AND MAXON CINEMA 4D) USED IN THE PRODUCTION OF DOCUMENTS AUDIOVISUAL CREATIVE AND ARTISTIC. A CONSIDERABLE PART OF HOURS IN THE CLASSROOM WILL ALSO FOCUSED ON THE VISION OF WORKS, THOSE HISTORICAL AND THOSE OF ARTISTS OF TODAY. STUDENTS will prove INTERESTED (EQUIPPED WELL AS KNOWLEDGE BASE) WILL END IN THE CHANCE TO MAKE ITS OWN DEVELOPED (INDIVIDUALLY OR GROUP) ENJOYS A CONSTANT TECHNICAL AND THEORY, OR TO TAKE PART, A DIFFERENT TITLE (OPERATOR SHOOT, EDITOR, PERFORMER, MUSICIAN, SPEAKER, GRAPHIC ETC.) FOR PROCESSING OF ARTWORK ARTIST TEACHER. ALTERNATIVE elaborate AUDIOVISUAL POTRÀCONSEGNARE A REPORT IS WRITTEN ABOUT THE CONTENTS.

TEXTS :
LA VIDEOARTE NEL MONDO DEL SOFTWARE, (A CURA DI) LINO STRANGIS, PALLADINO EDITORE
SOFTWARE CULTURE, LEV MANOVICH, OLIVARES
LE ARTI MULTIMEDIALI DIGITALI, (A CURA DI) ANNA MARIA MONTEVERDI E ANDREA BALZOLA, GARZANTI
KINEMA... IL CINEMA SULLE TRACCE DEL CINEMA, MARCO MARIA GAZZANO, EXORMA EDITORE
FILMOGRAFIA: OPERE VIDEOARTISTICHE STORICHE (I PIONIERI DELLA VIDEOARTE DAGLI ANNI 60 AGLI ANNI 90) E OPERE DEGLI ULTIMI ANNI SELEZIONATE DAL DOCENTE DAI PIÙ PRESTIGIOSI FESTIVAL INTERNAZIONALI.

After exposition of theoretical elements on the process of filmmaking (pre-production, production and post-production), the students will realize a short film, confront themselves with the problems of video-production.

There is not a final examination. Attendance at the lessons is mandatory and it determines the credit acquisition. There is not a course book

The invention of the cinema, between science and ontology. Lumière, Méliès and the ‘way of primitive representation'. The affirmation of the "way of institutional representation" from Brighton school at Griffith. Ascent of Hollywood and birth of the genres: the slapstick comedy, Chaplin and Keaton. The avant-garde movements of the years '20 in France (abstraction, dadaism and surrealism). The german espressionism. Soviet Union (theory and practice of editing). The sound in the classic American cinema.

David Bordwell e Kristin Thompson, Storia del cinema. Un’introduzione, McGraw Hill, Milano, 2010 (dal capitolo I al capitolo X incluso).


Filmography: Selection of short films; Hugo Cabret (Martin Scorsese, 2011), Intolerance (D.W.Griffith, 1916), Sherlock Jr (B.Keaton, 1924), Das Cabinet des Dr.Caligari (R.Wiene, 1919), Metropolis ( F.Lang, 1926), Bronenosec Potëmkin (S.M. Ejzenstejn, 1926), City Lights (Charles Chaplin, 1931), Bringing up baby (Howard Hawks, 1938), Singing in the Rain ( Stanley Donen-Gene Kelly, 1952), La régle du jeu ( Jean Renoir, 1939), Citizen Kane ( Orson Welles, 1941)

European cinema after 1945: trends and authors. The classical Hollywood and the advent of television. International tendencies after the 50s. The “nouvelle vague” era and art film. The New Hollywood. The New German Cinema. Hollywood in the 80s: blockbuster and entertainment. The “digital cinema”. Contemporary art film.

BIBLIOGRAPHY
1) David Bordwell, Kristin Thompson, Storia del cinema. Un’introduzione, quarta edizione, McGraw-Hill, Milano 2014 (capitoli 11-20, pp. 173-472 + Appendice, pp. 525-548)
2) Vincenzo Buccheri, Il film. Dalla sceneggiatura alla distribuzione, Carocci, Roma 2003 (e succ.)

FILMOGRAPHY
La fuga (Dark Passage, Delmer Daves, 1947)
Ladri di biciclette (Vittorio De Sica, 1948)
Tōkiō Monogatari (Viaggio a Tokyo, Yasujirō Ozu, 1953)
La donna che visse due volte (Vertigo, Alfred Hitchcock, 1958)
Hiroshima mon amour (Id., Alais Resnais, 1959)
Fino all'ultimo respiro (À bout de souffle, Jean-Luc Godard, 1960)
Persona (Id., Ingmar Bergman, 1966)
Solaris (Id., Andrej Tarkovskij, 1972)
La conversazione (The Conversation, Francis Ford Coppola, 1974)
Professione: reporter (The Passenger, Michelangelo Antonioni, 1975)
Taxi Driver (Id., Martin Scorsese, 1976)
Il cielo sopra Berlino (Der Himmel über Berlin, Wim Wenders, 1987)
Jurassic Park (Id., Steven Spielberg, 1993)
Hong Kong Express (Chungking express, Wong Kar-wai, 1994)
Matrix (The Matrix, Lana e Andy Wachowski, 1999)
Mulholland Dr. (Id., David Lynch, 2001)

THE NEOREALISM. MODERN CINEMA AND NOTION OF AUTHORSHIP. THE NOUVELLE VAGUE. THE ITALIAN CINEMA OF ‘60S. THE NEW HOLLYWOOD. CONTEMPORARY CINEMA. FOCUS ON ITALIAN POLITICAL CINEMA.

1. D. BORDWELL, K. THOMPSON, STORIA DEL CINEMA. UN’INTRODUZIONE, MCGRAW-HILL, MILANO 2014 (CAPP. DA 11 A 20 INCLUSI).
2. C. UVA (A CURA DI), DAMIANO DAMIANI. POLITICA DI UN AUTORE, BULZONI, ROMA 2014.

Module A
The first module will focus on the lexical and conceptual analysis of the themes of the course as they are displayed in Plato’s Teeteto and in Hume’s naturalism.

Module B
The second module will focus on the relationship between the theory of truth and the ontology as it is conceived by William James and Hilary Putnam.

Module A
1) Platone, Teeteto, a cura di A. M. Ioppolo, Laterza 1998.
2) D. Hume, Ricerca sull’intelletto umano, Laterza 2009.

Module B
1) Il pragmatismo. Dalle origini agli sviluppi contemporanei, a cura di R. M. Calcaterra, G. Maddalena, G. Marchetti, Carocci, 2015.
2) W. James, Il significato della verità, Aragno 2010.

This course offers students an in-depth look at the theoretical and methodological aspects of Cultural History. In particular, the class will be focused on the cultural and social factors of the transition to the contemporary age.

- P. BURKE, LA STORIA CULTURALE, BOLOGNA, IL MULINO, 2009, PP. 232, € 13,00
- S. KERN, IL TEMPO E LO SPAZIO. LA PERCEZIONE DEL MONDO TRA OTTO E NOVECENTO, BOLOGNA, IL MULINO, 2007, PP. 448, € 23,00

NEOREALISM
Program: Origins and development of neorealism: its relationship with Italian cinema of the '30s and its framing in the political, moral, cultural and artistic climate of the second Postwar. Production and reception modes. Plurality of ideologies, poetics, and styles. Contamination of genres. Neorealistic iconography. Forms of aesthetic renovation. The critical debate of the time. Historiographic reevaluations, critical rereadings and theoretical analyses from the 60s to today.

TEXTS: Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; Cesare Zavattini, Neorealismo ecc., a cura di Mino Argentieri, in Cesare Zavattini, Opere. Cinema, Bompiani, Milano 2002, pp. 595-1064; Paolo Noto, Francesco Pitassio, Il cinema neorealista, Archetipolibri, Bologna 2010; David Bruni, Roberto Rossellini. Roma città aperta, Lindau, Torino 2006.
FILMOGRAPHY: Ossessione (1943) di L.Visconti; Roma città aperta (1945) di R. Rossellini; Paisà (1946) di R. Rossellini; L'onorevole Angelina (1947) di L. Zampa; Germania anno zero (1948) di R: Rossellini; Ladri di biciclette (1948) di V. De Sica; La terra trema (1948) di L.Visconti; Senza pietà di A. Lattuada; Riso amaro (1949) di G. De Santis; Miracolo a Milano (1950) di V. De Sica; Il cammino della speranza (1950) di P. Germi; Bellissima (1951) di L. Visconti; Due soldi di speranza (1951) di R. Castellani; Roma ore 11 (1952) di G. De Santis; Umberto D. (1952) di V. De Sica; La signora senza camelie (1953) di M. Antonioni; Pane, amore e fantasia (1953) di L. Comencini; L'amore in città (1953) di Aa.Vv; La strada (1954) di F. Fellini; Il grido (1957) di M. Antonioni. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

Study meetings and laboratory meetings dedicated to specific areas of puppet theatre framed by scholars, artists and teachers both from an historiographical point of view and from the scenic practice's perspective. The objective is to analyse the “living” puppet theatre, its expressive possibilities and, at the same time, the great traditions included in it, that today live renewing themselves. So, traditions and crafts, but also history and modernity of a living theatre. Material theatre and, at the same time, theatre of history and memory.

Da concordare con il docente (tramite mail: valentina.venturini@uniroma3.it)

Contemporary French Literature
6cfu. Optional module
Second semester

PROGRAM:

Jean Cayrol e Jean Genet, two authors compared. Starting from the definition of the sacred by Georges Bataille, this course analyses the different forms that this notion acquires in the theatrical works of the two authors, who have been both deeply changed by the experience of prison: Cayrol, who was deported in a concentration camp, is the father of the ‘Lazarian’ literature and theatre. Jean Genet, who was sentenced to jail for theft, has been the interpreter of the misfit and of the outsider, with a privileged attention paid to sexual transgressions.

SYLLABUS

1. HISTORY OF LITERATURE:
1. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters III to IX).

2. PRIMARY WORKS:
Jean Cayrol, Lazzaro fra di noi, edited by Marina Galletti, Trieste. Nonostante, 2015
Jean Genet; Sorveglianza speciale; I paraventi. Introduction by Gian Renzo Marteo ; translation by Giorgio Caproni,Torino : Einaudi, 1987.
Jean Genet, Le serve. Introduction by Jean-Paul Sartre; Translation by Giorgio Caproni Torino, Einaudi, 1982.
Albet Camus, Stato d’assedio, Milano, Bompiani, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4.CRITICISM
- AA.VV., Jean Cayrol, dalla notte e dalla nebbia. La scritura dell’esperienza concentrazionaria a cura di Marina Galleti, Torino, Kaplan, 2010
- AA.VV., Jean Genet La scrittura della rivolta edited by Marina Galletti e Ilaria Rigano, Editoria e teatro, 2015.
Students who do not attend lessons regularly also need to study:
- L’immoralità leggendaria. Il teatro di Jean Genet, a cura di Sergio Colomba e Albert Dichy, Ubulibri, 1990.
- Georges Bataille, La nozione di dispendio a cura di Elena Pulcini, Armando.
- Marina Galletti, Alle origini del teatro lazzariano: “L’état de siège” di Albert Camus e “Le diable qui n’est à persone” di Cayrol, in Un’idea di Francia. Scritti per Gianfranco Rubino, a cura di Anna Maria Scaiola, Vecchiarelli, Manziana (Roma), 2013, pp. 109-118.
- Margareth, Amatulli, La nebbia della storia, Jean Cayrol e la scrittura del ritorno, in Lazzaro risorto, Trieste, Parnaso, 2000.

5. FILMOGRAPHY:
- Alain Resnais, Muriel ou le temps d’un retour (1963). Script by Jean Cayrol (tr. it. Muriel il tempo del ritorno, Ripley’s Home video (dvd), 2005.
-Alain Resnais, Nuit et brouillard. Script by Jean Cayrol (tr. it.: Notte e nebbia, Ripley’s Home video (dvd), 2007.

NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

SYLLABUS

1. HISTORY OF LITERATURE:
1. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters III to IX).

2. PRIMARY WORKS:
Jean Cayrol, Lazzaro fra di noi, edited by Marina Galletti, Trieste. Nonostante, 2015
Jean Genet; Sorveglianza speciale; I paraventi. Introduction by Gian Renzo Marteo ; translation by Giorgio Caproni,Torino : Einaudi, 1987.
Jean Genet, Le serve. Introduction by Jean-Paul Sartre; Translation by Giorgio Caproni Torino, Einaudi, 1982.
Albet Camus, Stato d’assedio, Milano, Bompiani, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4.CRITICISM
- AA.VV., Jean Cayrol, dalla notte e dalla nebbia. La scritura dell’esperienza concentrazionaria a cura di Marina Galleti, Torino, Kaplan, 2010
- AA.VV., Jean Genet La scrittura della rivolta edited by Marina Galletti e Ilaria Rigano, Editoria e teatro, 2015.
Students who do not attend lessons regularly also need to study:
- L’immoralità leggendaria. Il teatro di Jean Genet, a cura di Sergio Colomba e Albert Dichy, Ubulibri, 1990.
- Georges Bataille, La nozione di dispendio a cura di Elena Pulcini, Armando.
- Marina Galletti, Alle origini del teatro lazzariano: “L’état de siège” di Albert Camus e “Le diable qui n’est à persone” di Cayrol, in Un’idea di Francia. Scritti per Gianfranco Rubino, a cura di Anna Maria Scaiola, Vecchiarelli, Manziana (Roma), 2013, pp. 109-118.
- Margareth, Amatulli, La nebbia della storia, Jean Cayrol e la scrittura del ritorno, in Lazzaro risorto, Trieste, Parnaso, 2000.

5. FILMOGRAPHY:
- Alain Resnais, Muriel ou le temps d’un retour (1963). Script by Jean Cayrol (tr. it. Muriel il tempo del ritorno, Ripley’s Home video (dvd), 2005.
-Alain Resnais, Nuit et brouillard. Script by Jean Cayrol (tr. it.: Notte e nebbia, Ripley’s Home video (dvd), 2007.

NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical works

The course will deal with the development of 'embodied theories' of language in the last twenty years: a new trend in which the coming of language takes its primary root in pre-linguistic mind, that is in perceptive, emotional, imaginative end motor-systems of man, in according to an evolutionary point of view.

M. Donald, L'evoluzione della mente, Bollati-Boringhieri, Torino 2010 (chapters 4.5.6.7)
P. Marolda, La reletività simbolica, Diabasis, Reggio Emilia 2005
Liuzza, Cimatti & Borghi, Lingue, corpo pensiero, Carocci, Roma 2010

Cultural anthropology today is no longer just the study of remote societies, but explores how people act and give meaning their actions in globalized world. The course deals with theory, method, and interpretation that this project demands. A part of course deals with communicative musicality and Festival.

(students attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.

(students not attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.
- A. Rossi, Lettere da una tarantata, Squilibri, Roma, 2015.

NEOREALISM
Program: Origins and development of neorealism: its relationship with Italian cinema of the '30s and its framing in the political, moral, cultural and artistic climate of the second Postwar. Production and reception modes. Plurality of ideologies, poetics, and styles. Contamination of genres. Neorealistic iconography. Forms of aesthetic renovation. The critical debate of the time. Historiographic reevaluations, critical rereadings and theoretical analyses from the 60s to today.

TEXTS: Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; Cesare Zavattini, Neorealismo ecc., a cura di Mino Argentieri, in Cesare Zavattini, Opere. Cinema, Bompiani, Milano 2002, pp. 595-1064; Paolo Noto, Francesco Pitassio, Il cinema neorealista, Archetipolibri, Bologna 2010; David Bruni, Roberto Rossellini. Roma città aperta, Lindau, Torino 2006.
FILMOGRAPHY: Ossessione (1943) di L.Visconti; Roma città aperta (1945) di R. Rossellini; Paisà (1946) di R. Rossellini; L'onorevole Angelina (1947) di L. Zampa; Germania anno zero (1948) di R: Rossellini; Ladri di biciclette (1948) di V. De Sica; La terra trema (1948) di L.Visconti; Senza pietà di A. Lattuada; Riso amaro (1949) di G. De Santis; Miracolo a Milano (1950) di V. De Sica; Il cammino della speranza (1950) di P. Germi; Bellissima (1951) di L. Visconti; Due soldi di speranza (1951) di R. Castellani; Roma ore 11 (1952) di G. De Santis; Umberto D. (1952) di V. De Sica; La signora senza camelie (1953) di M. Antonioni; Pane, amore e fantasia (1953) di L. Comencini; L'amore in città (1953) di Aa.Vv; La strada (1954) di F. Fellini; Il grido (1957) di M. Antonioni. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

Cultural anthropology today is no longer just the study of remote societies, but explores how people act and give meaning their actions in globalized world. The course deals with theory, method, and interpretation that this project demands. A part of course deals with communicative musicality and Festival.

(students attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.

(students not attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.
- A. Rossi, Lettere da una tarantata, Squilibri, Roma, 2015.

The course will deal with the development of 'embodied theories' of language in the last twenty years: a new trend in which the coming of language takes its primary root in pre-linguistic mind, that is in perceptive, emotional, imaginative end motor-systems of man, in according to an evolutionary point of view.

M. Donald, L'evoluzione della mente, Bollati-Boringhieri, Torino 2010 (chapters 4.5.6.7)
P. Marolda, La reletività simbolica, Diabasis, Reggio Emilia 2005
Liuzza, Cimatti & Borghi, Lingue, corpo pensiero, Carocci, Roma 2010

Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Simone Moraldi, Questioni di campo-La relazione osservatore/osservato nella forma documentaria, Bulzoni, Roma, 2015



Filmography:
Nick Broomfield, Kurt and Courtney, Uk, 1998
Raymond Depardon, Profils paysans, (2001-2008)
Vittorio De Seta, Lettere dal Sahara, 2002
Leonardo Di Costanzo, A scuola, 2003
Robert Flaherty, Nanook of the North, 1922
Robert Kramer, Route One, 1989
Errol Morris, The Fog of War, 2003
Nicolas Philibert, Etre et avoir, 2002
Giovanni Piperno-Agostino Ferrente, Le cose belle, 2013

Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Simone Moraldi, Questioni di campo-La relazione osservatore/osservato nella forma documentaria, Bulzoni, Roma, 2015


Filmography:
Nick Broomfield, Kurt and Courtney, Uk, 1998
Raymond Depardon, Profils paysans, (2001-2008)
Vittorio De Seta, Lettere dal Sahara, 2002
Leonardo Di Costanzo, A scuola, 2003
Robert Flaherty, Nanook of the North, 1922
Robert Kramer, Route One, 1989
Errol Morris, The Fog of War, 2003
Nicolas Philibert, Etre et avoir, 2002
Giovanni Piperno-Agostino Ferrente, Le cose belle, 2013

The course is divided in two sections, each composed of 9 lessons. The first is dedicated to the history of photography. The second analyses – in collaboration with Alessandra Mauro - the concept of Photographic Exhibition, starting from "War is Over!", the exhibition that both of them, together with Gabriele D'Autilia have curated, first in Rome, Palazzo Braschi, then in Milan, Spazio Forma.

Enrico Menduni, La fotografia, Bologna, Il Mulino, 2008, available also in e-book.
Alessandra Mauro, Paul-Louis Roubert, Photoshow: Landmark Exhibitions that Defined the History of Photography, London, Thames & Hudson, 2014
Gabriele D’Autilia ed Enrico Menduni (eds.), L’Italia della Liberazione nelle immagini dei U.S. Signal Corps e dell’Istituto Luce, 1943-1946, Roma, Contrasto, 2015-16 Both editions are eligible: red cover (Rome), blue cover (Milan).

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

The course is divided in two sections, each composed of 9 lessons. The first is dedicated to the history of photography. The second analyses – in collaboration with Alessandra Mauro - the concept of Photographic Exhibition, starting from "War is Over!", the exhibition that both of them, together with Gabriele D'Autilia have curated, first in Rome, Palazzo Braschi, then in Milan, Spazio Forma.

Enrico Menduni, La fotografia, Bologna, Il Mulino, 2008, available also in e-book.
Alessandra Mauro, Paul-Louis Roubert, Photoshow: Landmark Exhibitions that Defined the History of Photography, London, Thames & Hudson, 2014
Gabriele D’Autilia ed Enrico Menduni (eds.), L’Italia della Liberazione nelle immagini dei U.S. Signal Corps e dell’Istituto Luce, 1943-1946, Roma, Contrasto, 2015-16 Both editions are eligible: red cover (Rome), blue cover (Milan).

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

BALANCED BETWEEN THEORY AND PRACTICE, THE WORKSHOP WILL SUBSTANTIALLY DIVIDED IN TWO PARTS (NOT NECESSARILY LISTS CHRONOLOGICALLY): A TESA TO AN UNDERSTANDING OF THE PHENOMENON IN QUESTION FROM A POINT OF VIEW SPECULATIVE / CRITICAL AND OTHER DIRECTLY DEDICATED TO KNOWLEDGE OF TECHNICAL INSTRUMENTS ( EDITING SOFTWARE, POST PRODUCTION AND ANIMATION WHICH ADOBE AFTER EFFECTS ADOBE PREMIERE AND MAXON CINEMA 4D) USED IN THE PRODUCTION OF DOCUMENTS AUDIOVISUAL CREATIVE AND ARTISTIC. A CONSIDERABLE PART OF HOURS IN THE CLASSROOM WILL ALSO FOCUSED ON THE VISION OF WORKS, THOSE HISTORICAL AND THOSE OF ARTISTS OF TODAY. STUDENTS will prove INTERESTED (EQUIPPED WELL AS KNOWLEDGE BASE) WILL END IN THE CHANCE TO MAKE ITS OWN DEVELOPED (INDIVIDUALLY OR GROUP) ENJOYS A CONSTANT TECHNICAL AND THEORY, OR TO TAKE PART, A DIFFERENT TITLE (OPERATOR SHOOT, EDITOR, PERFORMER, MUSICIAN, SPEAKER, GRAPHIC ETC.) FOR PROCESSING OF ARTWORK ARTIST TEACHER. ALTERNATIVE elaborate AUDIOVISUAL POTRÀCONSEGNARE A REPORT IS WRITTEN ABOUT THE CONTENTS.

TEXTS :
LA VIDEOARTE NEL MONDO DEL SOFTWARE, (A CURA DI) LINO STRANGIS, PALLADINO EDITORE
SOFTWARE CULTURE, LEV MANOVICH, OLIVARES
LE ARTI MULTIMEDIALI DIGITALI, (A CURA DI) ANNA MARIA MONTEVERDI E ANDREA BALZOLA, GARZANTI
KINEMA... IL CINEMA SULLE TRACCE DEL CINEMA, MARCO MARIA GAZZANO, EXORMA EDITORE
FILMOGRAFIA: OPERE VIDEOARTISTICHE STORICHE (I PIONIERI DELLA VIDEOARTE DAGLI ANNI 60 AGLI ANNI 90) E OPERE DEGLI ULTIMI ANNI SELEZIONATE DAL DOCENTE DAI PIÙ PRESTIGIOSI FESTIVAL INTERNAZIONALI.

Module A
The first module will focus on the lexical and conceptual analysis of the themes of the course as they are displayed in Plato’s Teeteto and in Hume’s naturalism.

Module B
The second module will focus on the relationship between the theory of truth and the ontology as it is conceived by William James and Hilary Putnam.

Module A
1) Platone, Teeteto, a cura di A. M. Ioppolo, Laterza 1998.
2) D. Hume, Ricerca sull’intelletto umano, Laterza 2009.

Module B
1) Il pragmatismo. Dalle origini agli sviluppi contemporanei, a cura di R. M. Calcaterra, G. Maddalena, G. Marchetti, Carocci, 2015.
2) W. James, Il significato della verità, Aragno 2010.

This course offers students an in-depth look at the theoretical and methodological aspects of Cultural History. In particular, the class will be focused on the cultural and social factors of the transition to the contemporary age.

- P. BURKE, LA STORIA CULTURALE, BOLOGNA, IL MULINO, 2009, PP. 232, € 13,00
- S. KERN, IL TEMPO E LO SPAZIO. LA PERCEZIONE DEL MONDO TRA OTTO E NOVECENTO, BOLOGNA, IL MULINO, 2007, PP. 448, € 23,00

NEOREALISM
Program: Origins and development of neorealism: its relationship with Italian cinema of the '30s and its framing in the political, moral, cultural and artistic climate of the second Postwar. Production and reception modes. Plurality of ideologies, poetics, and styles. Contamination of genres. Neorealistic iconography. Forms of aesthetic renovation. The critical debate of the time. Historiographic reevaluations, critical rereadings and theoretical analyses from the 60s to today.

TEXTS: Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; Cesare Zavattini, Neorealismo ecc., a cura di Mino Argentieri, in Cesare Zavattini, Opere. Cinema, Bompiani, Milano 2002, pp. 595-1064; Paolo Noto, Francesco Pitassio, Il cinema neorealista, Archetipolibri, Bologna 2010; David Bruni, Roberto Rossellini. Roma città aperta, Lindau, Torino 2006.
FILMOGRAPHY: Ossessione (1943) di L.Visconti; Roma città aperta (1945) di R. Rossellini; Paisà (1946) di R. Rossellini; L'onorevole Angelina (1947) di L. Zampa; Germania anno zero (1948) di R: Rossellini; Ladri di biciclette (1948) di V. De Sica; La terra trema (1948) di L.Visconti; Senza pietà di A. Lattuada; Riso amaro (1949) di G. De Santis; Miracolo a Milano (1950) di V. De Sica; Il cammino della speranza (1950) di P. Germi; Bellissima (1951) di L. Visconti; Due soldi di speranza (1951) di R. Castellani; Roma ore 11 (1952) di G. De Santis; Umberto D. (1952) di V. De Sica; La signora senza camelie (1953) di M. Antonioni; Pane, amore e fantasia (1953) di L. Comencini; L'amore in città (1953) di Aa.Vv; La strada (1954) di F. Fellini; Il grido (1957) di M. Antonioni. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

Contemporary French Literature
6cfu. Optional module
Second semester

PROGRAM:

Jean Cayrol e Jean Genet, two authors compared. Starting from the definition of the sacred by Georges Bataille, this course analyses the different forms that this notion acquires in the theatrical works of the two authors, who have been both deeply changed by the experience of prison: Cayrol, who was deported in a concentration camp, is the father of the ‘Lazarian’ literature and theatre. Jean Genet, who was sentenced to jail for theft, has been the interpreter of the misfit and of the outsider, with a privileged attention paid to sexual transgressions.

SYLLABUS

1. HISTORY OF LITERATURE:
1. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters III to IX).

2. PRIMARY WORKS:
Jean Cayrol, Lazzaro fra di noi, edited by Marina Galletti, Trieste. Nonostante, 2015
Jean Genet; Sorveglianza speciale; I paraventi. Introduction by Gian Renzo Marteo ; translation by Giorgio Caproni,Torino : Einaudi, 1987.
Jean Genet, Le serve. Introduction by Jean-Paul Sartre; Translation by Giorgio Caproni Torino, Einaudi, 1982.
Albet Camus, Stato d’assedio, Milano, Bompiani, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4.CRITICISM
- AA.VV., Jean Cayrol, dalla notte e dalla nebbia. La scritura dell’esperienza concentrazionaria a cura di Marina Galleti, Torino, Kaplan, 2010
- AA.VV., Jean Genet La scrittura della rivolta edited by Marina Galletti e Ilaria Rigano, Editoria e teatro, 2015.
Students who do not attend lessons regularly also need to study:
- L’immoralità leggendaria. Il teatro di Jean Genet, a cura di Sergio Colomba e Albert Dichy, Ubulibri, 1990.
- Georges Bataille, La nozione di dispendio a cura di Elena Pulcini, Armando.
- Marina Galletti, Alle origini del teatro lazzariano: “L’état de siège” di Albert Camus e “Le diable qui n’est à persone” di Cayrol, in Un’idea di Francia. Scritti per Gianfranco Rubino, a cura di Anna Maria Scaiola, Vecchiarelli, Manziana (Roma), 2013, pp. 109-118.
- Margareth, Amatulli, La nebbia della storia, Jean Cayrol e la scrittura del ritorno, in Lazzaro risorto, Trieste, Parnaso, 2000.

5. FILMOGRAPHY:
- Alain Resnais, Muriel ou le temps d’un retour (1963). Script by Jean Cayrol (tr. it. Muriel il tempo del ritorno, Ripley’s Home video (dvd), 2005.
-Alain Resnais, Nuit et brouillard. Script by Jean Cayrol (tr. it.: Notte e nebbia, Ripley’s Home video (dvd), 2007.

NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

SYLLABUS

1. HISTORY OF LITERATURE:
1. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters III to IX).

2. PRIMARY WORKS:
Jean Cayrol, Lazzaro fra di noi, edited by Marina Galletti, Trieste. Nonostante, 2015
Jean Genet; Sorveglianza speciale; I paraventi. Introduction by Gian Renzo Marteo ; translation by Giorgio Caproni,Torino : Einaudi, 1987.
Jean Genet, Le serve. Introduction by Jean-Paul Sartre; Translation by Giorgio Caproni Torino, Einaudi, 1982.
Albet Camus, Stato d’assedio, Milano, Bompiani, 2003.

3. TEXT SELECTION:
Other texts will be provided throughout.

4.CRITICISM
- AA.VV., Jean Cayrol, dalla notte e dalla nebbia. La scritura dell’esperienza concentrazionaria a cura di Marina Galleti, Torino, Kaplan, 2010
- AA.VV., Jean Genet La scrittura della rivolta edited by Marina Galletti e Ilaria Rigano, Editoria e teatro, 2015.
Students who do not attend lessons regularly also need to study:
- L’immoralità leggendaria. Il teatro di Jean Genet, a cura di Sergio Colomba e Albert Dichy, Ubulibri, 1990.
- Georges Bataille, La nozione di dispendio a cura di Elena Pulcini, Armando.
- Marina Galletti, Alle origini del teatro lazzariano: “L’état de siège” di Albert Camus e “Le diable qui n’est à persone” di Cayrol, in Un’idea di Francia. Scritti per Gianfranco Rubino, a cura di Anna Maria Scaiola, Vecchiarelli, Manziana (Roma), 2013, pp. 109-118.
- Margareth, Amatulli, La nebbia della storia, Jean Cayrol e la scrittura del ritorno, in Lazzaro risorto, Trieste, Parnaso, 2000.

5. FILMOGRAPHY:
- Alain Resnais, Muriel ou le temps d’un retour (1963). Script by Jean Cayrol (tr. it. Muriel il tempo del ritorno, Ripley’s Home video (dvd), 2005.
-Alain Resnais, Nuit et brouillard. Script by Jean Cayrol (tr. it.: Notte e nebbia, Ripley’s Home video (dvd), 2007.

NOTES / OTHER INFORMATION
All texts are available at Apollinaire’s library, which is located in Centro Studi italo-francesi of Roma Tre University (Piazza Campitelli, 3).
The exam will be conducted orally. In order to be admitted at the exam, students must first enroll on line and print the enrollment form.

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical works

PROGRAM:
A) Lectures at DAMS University Roma3: 1) background information on the context of the contemporary prison; 2) items of information on the relationship between aesthetics and ethics with specific application to the context of the theater with social worth.
B) Workshop at the Theatre of the Rebibbia prison: 1) direct interaction with the work carried out by the inmates-actors at the Theatre of the Prison.
C) Each student must prepare a final report on the experience of the Laboratory.

During the workshop activity will be suggested some readings

Filmography
"Caesar Must Die" by Paolo and Vittorio Taviani.

Cultural anthropology today is no longer just the study of remote societies, but explores how people act and give meaning their actions in globalized world. The course deals with theory, method, and interpretation that this project demands. A part of course deals with communicative musicality and Festival.

(students attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.

(students not attending):
- E.A.Schultz, R.H.Lavenda, Antropologia culturale, Zanichelli, Bologna, 2009, capitoli da 1 a 9
- P.Apolito, Ritmi di festa. Corpo, danza, socialità, Il Mulino, Bologna, 2014.
- A. Rossi, Lettere da una tarantata, Squilibri, Roma, 2015.

The course will deal with the development of 'embodied theories' of language in the last twenty years: a new trend in which the coming of language takes its primary root in pre-linguistic mind, that is in perceptive, emotional, imaginative end motor-systems of man, in according to an evolutionary point of view.

M. Donald, L'evoluzione della mente, Bollati-Boringhieri, Torino 2010 (chapters 4.5.6.7)
P. Marolda, La reletività simbolica, Diabasis, Reggio Emilia 2005
Liuzza, Cimatti & Borghi, Lingue, corpo pensiero, Carocci, Roma 2010

Literature as falsehood: Giorgio Manganelli

a) chosen works by Giorgio Manganelli:

Agli dei ulteriori, Milano, Adelphi, 1989 + La palude definitiva, Milano, Adelphi, 1991 + Esperimento con l’India, Milano, Adelphi, 1992 + La letteratura come menzogna, Milano, Adelphi, 2004

b) a critic essay:

Graziella Pulce, Giorgio Manganelli. Figure e sistema, Firenze, LeMonnier, 2004 (or Giorgio Manganelli, a cura di Marco Belpoliti e Andrea Cortellessa [«Riga» 25], Milano, Marcos y Marcos, 2006)

c) for the context of italian literary history:
Giulio Ferroni, Storia della letteratura italiana, IVth volume: Il Novecento e il nuovo millennio, Milano, Mondadori Università, 2012

The course is aimed to explain formats, expressions and production forms of contemporary radio and television broadcasting in present days, characterized by a large amount of audiovisual contents proposed (pay o for free) to the audiences, available on a vast range of devices (TV screens, tablets, outdoor), both domestic and mobile. The audiovisual contents proposed by broadcasting media are also challenged by grassroots contents production and delivery through social network and YouTube.

E. Menduni, Radio e televisione nel XXI secolo, Roma-Bari, Laterza, 2016
E. Menduni, Il mondo della radio. Dal transistor ai social network. Seconda edizione riveduta, Bologna, il Mulino, 2012 (cover with purple belt, not red belt)

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it

Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

NEOREALISM
Program: Origins and development of neorealism: its relationship with Italian cinema of the '30s and its framing in the political, moral, cultural and artistic climate of the second Postwar. Production and reception modes. Plurality of ideologies, poetics, and styles. Contamination of genres. Neorealistic iconography. Forms of aesthetic renovation. The critical debate of the time. Historiographic reevaluations, critical rereadings and theoretical analyses from the 60s to today.

TEXTS: Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; Cesare Zavattini, Neorealismo ecc., a cura di Mino Argentieri, in Cesare Zavattini, Opere. Cinema, Bompiani, Milano 2002, pp. 595-1064; Paolo Noto, Francesco Pitassio, Il cinema neorealista, Archetipolibri, Bologna 2010; David Bruni, Roberto Rossellini. Roma città aperta, Lindau, Torino 2006.
FILMOGRAPHY: Ossessione (1943) di L.Visconti; Roma città aperta (1945) di R. Rossellini; Paisà (1946) di R. Rossellini; L'onorevole Angelina (1947) di L. Zampa; Germania anno zero (1948) di R: Rossellini; Ladri di biciclette (1948) di V. De Sica; La terra trema (1948) di L.Visconti; Senza pietà di A. Lattuada; Riso amaro (1949) di G. De Santis; Miracolo a Milano (1950) di V. De Sica; Il cammino della speranza (1950) di P. Germi; Bellissima (1951) di L. Visconti; Due soldi di speranza (1951) di R. Castellani; Roma ore 11 (1952) di G. De Santis; Umberto D. (1952) di V. De Sica; La signora senza camelie (1953) di M. Antonioni; Pane, amore e fantasia (1953) di L. Comencini; L'amore in città (1953) di Aa.Vv; La strada (1954) di F. Fellini; Il grido (1957) di M. Antonioni. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.

The course provides a general understanding of the main actors, rules and processes of the modern media system. The first part of the course is devoted to a brief history of Italian journalism in comparison with some of the major foreign models. The second part is devoted to the analysis of the main sectors of the Italian system of information - newspapers, television, radio, publishing, web - and to the structural and quantitative analysis of the market - investment, consumption, audiences-. The third part is devoted to the acquisition of basic knowledge of the vocabulary of journalism and of the treatment process of the news. The fourth part of the course is devoted to the impact of new media on the system of information and to new trends such as the citizen journalism and the Hybrid System News.
The course includes practical end theoretical exercises on various aspects pertaining to the production and the packaging of the news.

The examination program will be announced at the beginning of the course

The program is focused on two main topics. The first one is related with the new forms of fruition in the “post-cinematic” age of convergence. The second one is related to the new forms of complex narration, a relevant trend of the international cinema of the last two decades.

The complete program will be available at the beginning of the course.

Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Simone Moraldi, Questioni di campo-La relazione osservatore/osservato nella forma documentaria, Bulzoni, Roma, 2015



Filmography:
Nick Broomfield, Kurt and Courtney, Uk, 1998
Raymond Depardon, Profils paysans, (2001-2008)
Vittorio De Seta, Lettere dal Sahara, 2002
Leonardo Di Costanzo, A scuola, 2003
Robert Flaherty, Nanook of the North, 1922
Robert Kramer, Route One, 1989
Errol Morris, The Fog of War, 2003
Nicolas Philibert, Etre et avoir, 2002
Giovanni Piperno-Agostino Ferrente, Le cose belle, 2013

Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Simone Moraldi, Questioni di campo-La relazione osservatore/osservato nella forma documentaria, Bulzoni, Roma, 2015


Filmography:
Nick Broomfield, Kurt and Courtney, Uk, 1998
Raymond Depardon, Profils paysans, (2001-2008)
Vittorio De Seta, Lettere dal Sahara, 2002
Leonardo Di Costanzo, A scuola, 2003
Robert Flaherty, Nanook of the North, 1922
Robert Kramer, Route One, 1989
Errol Morris, The Fog of War, 2003
Nicolas Philibert, Etre et avoir, 2002
Giovanni Piperno-Agostino Ferrente, Le cose belle, 2013

The course is divided in two sections, each composed of 9 lessons. The first is dedicated to the history of photography. The second analyses – in collaboration with Alessandra Mauro - the concept of Photographic Exhibition, starting from "War is Over!", the exhibition that both of them, together with Gabriele D'Autilia have curated, first in Rome, Palazzo Braschi, then in Milan, Spazio Forma.

Enrico Menduni, La fotografia, Bologna, Il Mulino, 2008, available also in e-book.
Alessandra Mauro, Paul-Louis Roubert, Photoshow: Landmark Exhibitions that Defined the History of Photography, London, Thames & Hudson, 2014
Gabriele D’Autilia ed Enrico Menduni (eds.), L’Italia della Liberazione nelle immagini dei U.S. Signal Corps e dell’Istituto Luce, 1943-1946, Roma, Contrasto, 2015-16 Both editions are eligible: red cover (Rome), blue cover (Milan).

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

The course is divided in two sections, each composed of 9 lessons. The first is dedicated to the history of photography. The second analyses – in collaboration with Alessandra Mauro - the concept of Photographic Exhibition, starting from "War is Over!", the exhibition that both of them, together with Gabriele D'Autilia have curated, first in Rome, Palazzo Braschi, then in Milan, Spazio Forma.

Enrico Menduni, La fotografia, Bologna, Il Mulino, 2008, available also in e-book.
Alessandra Mauro, Paul-Louis Roubert, Photoshow: Landmark Exhibitions that Defined the History of Photography, London, Thames & Hudson, 2014
Gabriele D’Autilia ed Enrico Menduni (eds.), L’Italia della Liberazione nelle immagini dei U.S. Signal Corps e dell’Istituto Luce, 1943-1946, Roma, Contrasto, 2015-16 Both editions are eligible: red cover (Rome), blue cover (Milan).

Reference books must be mandatorily implemented with slides, lesson audio recordings, papers and documents available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

PROGRAM:
A) Lectures at DAMS University Roma3: 1) background information on the context of the contemporary prison; 2) items of information on the relationship between aesthetics and ethics with specific application to the context of the theater with social worth.
B) Workshop at the Theatre of the Rebibbia prison: 1) direct interaction with the work carried out by the inmates-actors at the Theatre of the Prison.
C) Each student must prepare a final report on the experience of the Laboratory.

During the workshop activity will be suggested some readings

Filmography
"Caesar Must Die" by Paolo and Vittorio Taviani.

In the first part of the Lab, different advertising techniques and strategies will be presented, showing how these change according to different media (drawing on many case studies, printed ads, TV commercials, web ads, etc. will be taken into consideration); a small sample of theoretical frameworks will be discussed and applied to specific advertisements; finally, the organization of the advertising industry will be illustrated, along with its main professional figures.
The second part of the Lab focuses on what is probably to be considered advertising’s main ‘resource’ and most longstanding weakness at the same time: the use of stereotypes. After addressing stereotypes in theoretical terms and explaining the reasons for their widespread use and ‘efficacy’, we will focus on three categories of stereotypes commonly found in advertisements: 1) gender and ‘heteronormativity’ (how are female and male subjects and bodies depicted in ads? What are the reasons for and the effects of privileging heterosexual couples?); 2) age (which products/services/goods is the use of elderly in advertising limited to? Are old women and old men ‘used’ in the same way?); 3) race (in which roles non-Caucasian people feature in in advertising images and discourse?). Several forms of communication, social and no-profit campaigns included, will be deconstructed and re-constructed in order to challenge common places and to analyze how (hetero)sexism, racism, and ageism work in advertising.
The Lab balances theory and practice. In both Part I and Part II, practical exercises will be proposed and students will be asked to analyze commercials or advertising campaigns and/or to develop their own.

Teaching material will be made available on the www.mediastudies.it website

The program envisages the draft of a business project, according to a fixed schedule, in which the student must explore the realistic feasibility of his business idea in its market, organizational and economic size.

In the classroom, shows the operating systems of an enterprise culture, especially theater, also in relation to other fields of cultural production, and the technical preparation of the project.

L. Argano, C. Brizzi, M. Frittelli, G. Marinelli "L'impresa di spettacolo dal vivo", Officina Editore, Roma, 2010

Professor’s lecture notes downloadable from the website : www.lucioargano.it.

PROGRAM: The first part will examine how TV production is changing in the new digital environment. The second part will focus on a particular stage of the production process : video editing. In addiction to the theoretical part, there will be exercises, visits to studios and television sets, meetings with professionals.

G. Feyles, Il montaggio televisivo, Carocci, Roma 2010
E. Menduni, A. Catolfi, Produrre tv. Dallo studio televisivo a Internet, Laterza, Roma 2009

History and art of the actor
(L-ART/05) credits 6 - Teacher: Stefano Geraci
Learning objectives: The course introduces the study of the actor in the European theatrical culture from the modern age to the twentieth century.
Programme. The art and the practices of the actors will be analyzed through the traces, the memories, the visual documents and their relationships with the life of the theaters.
TEXT BOOKS: Lecture notes edited by the teacher, (available at the beginning of the course on the site https://sites.google.com/com/site/stefanogeraci1);L. Jouvet, Lezioni su Molière, a cura di S.Geraci, Officina Edizioni, 2015 ; The non-attending students must add to the program one of the following books : Copeau, Artigiani di una tradizione vivente: l’attore e la pedagogia teatrale; a cura di Maria Ines Aliverti, La casa Usher, 2009; C. Dullin, La ricerca degli dei. Pedagogia di attore e professione di teatro, a cura di D. Seragnoli, ETS, 2005.
Oral examination 
E-MAIL geraci@uniroma3.it
LESSONS: semester II

TEXT BOOKS: Lecture notes edited by the teacher, (available at the beginning of the course on the site https://sites.google.com/com/site/stefanogeraci1);L. Jouvet, Lezioni su Molière, a cura di S.Geraci, Officina Edizioni, 2015 ; The non-attending students must add to the program one of the following books : Copeau, Artigiani di una tradizione vivente: l’attore e la pedagogia teatrale; a cura di Maria Ines Aliverti, La casa Usher, 2009; C. Dullin, La ricerca degli dei. Pedagogia di attore e professione di teatro, a cura di D. Seragnoli, ETS, 2005.

Module A
The first module will focus on the lexical and conceptual analysis of the themes of the course as they are displayed in Plato’s Teeteto and in Hume’s naturalism.

Module B
The second module will focus on the relationship between the theory of truth and the ontology as it is conceived by William James and Hilary Putnam.

Module A
1) Platone, Teeteto, a cura di A. M. Ioppolo, Laterza 1998.
2) D. Hume, Ricerca sull’intelletto umano, Laterza 2009.

Module B
1) Il pragmatismo. Dalle origini agli sviluppi contemporanei, a cura di R. M. Calcaterra, G. Maddalena, G. Marchetti, Carocci, 2015.
2) W. James, Il significato della verità, Aragno 2010.

A confrontation of techniques, machines, language of Cinema.

Technical and critical analysis of the main “cinema” devices and impact on the language of audiovisual techniques, from the time of photography and film to that of the Web, as well as film and Tv broadcasting.


Notice:
Since the academic year 2016/2017 the program it's the same of 2015/2016

TEXTS:
- G. Balbi, P. Magaudda, Storia dei media digitali. Rivoluzioni e continuità, Laterza, Bari, 2014.
- G. Feyles, Il montaggio televisivo, Carocci, Roma 2010.
- C. Marra, Fotografia e arti visive, Carocci, Roma 2014.

(optionally)
- M. M. Gazzano, Kinema. Il cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno, Exorma, Roma 2012, 2015.
- M. M. Gazzano (a cura di), Edison studio. Il silent film e l’elettronica in relazione intermediale, Exorma, Roma 2012, 2014.
- P. Bertetto, La macchina del cinema, Laterza, Bari 2010.

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

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

FILM: Presentation of tv and video art works between the ’50s and today, otherwise not available.

This course offers students an in-depth look at the theoretical and methodological aspects of Cultural History. In particular, the class will be focused on the cultural and social factors of the transition to the contemporary age.

- P. BURKE, LA STORIA CULTURALE, BOLOGNA, IL MULINO, 2009, PP. 232, € 13,00
- S. KERN, IL TEMPO E LO SPAZIO. LA PERCEZIONE DEL MONDO TRA OTTO E NOVECENTO, BOLOGNA, IL MULINO, 2007, PP. 448, € 23,00

THE "PIXAR SYSTEM": TECHNOLOGY, AESTHETICS, IDEOLOGY

C. Uva, Cinema digitale. Teorie e pratiche, Le Lettere, Firenze, 2012.
P. Grandi, Pixar Story, Hoepli, 2014.

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical works