From the late nineteenth century, artists have sought new forms of "vision" beyond the traditional ways of representing the visible reality. Under the influence of new scientific and philosophical theories, psychoanalysis, but also esotericism and spiritualism, using traditional or new media such as photography and film, collage, readymade, photomontage, psychic automatism, animation etc., the avant-garde movements have expanded the frontiers of the visible world to the regions of the unconscious and of the "fourth dimension".

The course covers the key moments of this path by examining, in the period between 1860 and about 1940, works, movements and key figures as well as figures of precursors and references to literature and film.

Among the artists discussed during the course: Courbet, Manet, van Gogh, Gauguin, Marey, Picasso, Boccioni, Balla, Bragaglia, de Chirico, Duchamp, Picabia, Haussmann, Dix, Höch, Grosz, Ernst, Man Ray, Brassai, Giacometti, Magritte.

Exam

The exam consists of free-response questions. Some of the questions require students to look at an image in order to answer. Students are required to know the historical and stylistic developments of the visual arts between 1860 and 1940; they must be able to address the main topics of the course and to analyze the works of the artists above mentioned.

Essays

Walter Benjamin, Piccola storia della fotografia, in Aura e choc, Einaudi 2010
Stephen Kern, Il tempo e lo spazio, Il Mulino 2007: capitoli 4, Il futuro; 5, La velocità; 6, La natura dello spazio, pp. 117-226

Manifestos

Manifesto del futurismo (1909)
Manifesto tecnico della pittura futurista (1910)
André Breton, Manifesto del surrealismo (1924)

Main reference

Denys Riout, L’arte del ventesimo secolo, Einaudi 2002, pp. 111-189 and pp. 253-331

General reference

Mary Acton, Guardare l'arte contemporanea, Einaudi 2008
Hal Foster et al., Art since 1900, MIT Press
Francesco Poli (a cura di), Arte moderna. Dal Postimpressionismo all'Informale, Electa 2007

Textbook:
Hal Foster et al., Arte since 1900, Thames and Hudson

The program will be articulated around three main stages. In the first one, the main approaches to film aesthetics will be taken into account, with particular reference to the first half of the 20th century. In the second one, the classic film aesthetics will be compared with more recent approaches, as well as with media aesthetics approaches of the second half of the 20th century, and contemporary theories of the “Postmedia” condition. In the third one, film and media aesthetics will be compared with contemporary visual culture studies and then framed in a wider history of images.

- Francesco Casetti, "L'occhio del Novecento. Cinema, esperienza, modernità", Bompiani, Roma 2005

- Andrea Pinotti, Antonio Somaini, "Cultura visuale. Immagini sguardi media dispositivi", Einaudi, Torino 2016

- Ruggero Eugeni, La condizione postmediale, La Scuola, Brescia 2015

- An anthology of essays (edited by the professor)

Picture and action between legacy and invention: Antiquity, Renaissance and the early 20th century. The representation of movement and the theater as image. Dance and photography as arts: protagonists and collaborations.

Claudia Cieri Via, Introduzione a Aby Warburg, Laterza, Bari 2011; Isadora Duncan, L’arte della danza, edited by Patrizia Veroli, Dino Audino Editore, Roma 2016; Papers edited by the teacher availables to download at http://www.iconografiadelteatroedelladanza.it/dispense/
Those who do not attend the lessons must add Lorenzo Mango, L’officina teorica di Edward Gordon Craig, Titivillus, Pisa 2015.

The program will be articulated around three main stages. In the first one, the main approaches to film aesthetics will be taken into account, with particular reference to the first half of the 20th century. In the second one, the classic film aesthetics will be compared with more recent approaches, as well as with media aesthetics approaches of the second half of the 20th century, and contemporary theories of the “Postmedia” condition. In the third one, film and media aesthetics will be compared with contemporary visual culture studies and then framed in a wider history of images.

- Francesco Casetti, "L'occhio del Novecento. Cinema, esperienza, modernità", Bompiani, Roma 2005

- Andrea Pinotti, Antonio Somaini, "Cultura visuale. Immagini sguardi media dispositivi", Einaudi, Torino 2016

- Ruggero Eugeni, La condizione postmediale, La Scuola, Brescia 2015

- An anthology of essays (edited by the professor)

Frontal lessons dedicated to history and theory of photography will be interwined with the analysis of photo contents (or related to photography) also with presentations by groups of students coordinated by tutors.

- A. Pinotti, A. Somaini, Cultura visuale. Immagini sguardi media dispositivi, Torino, Einaudi, 2016
- E. Menduni, La fotografia, Bologna, il Mulino, 2008 (anche e-book).

Reference books must be mandatorily implemented with lesson recordings, notes, slides, links, additional stuff that will be available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

After a general introduction on digital art concepts and "hacker attitude" will show some examples of artistic digital use. They will show and explain the reasons and the design approaches of different works and artists. Students will then be invited to produce, individually or in small groups of three people, one of their projects accomplished with the supplied technologies, or to develop the presentation of a project which requires equipment not available. Students must already be able to accomplish basic tasks of filming and editing, how to surf the Internet and / or use basic programs of digital graphics. And 'obligatory to have a mail box to keep in touch with the teacher.

Giacomo Verde – ARTIVISMO TECNOLOGICO, scritti e interviste su arte, politica, teatro e tecnologie - Ed. BFS, Pisa – 2007
Scaricabile anche on-line da: http://www.verdegiac.org/artivismo.html

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.

With the support of some reference contributions in film theory and critics, from Ejzenštejn to Burch, we will explore the milestones that marked the consolidation of film as art, language and industry, from pre-cinema to classical Hollywood, through the experience of the 1920s avant-gardes, the introduction of sound and the emerge of models of 'studio system'.

BIBLIOGRAPHY
- David Bordwell, Kristin Thompson, Storia del cinema. Un’introduzione, Milano, McGraw-Hill Companies (selected chapters)
- a reader of contributions, edited by the teacher

MAIN FILMOGRAPHY
Cabiria (G. Pastrone, 1913), The Birth of a Nation (D.W. Griffith, 1915), The Outlaw and his Wife (V. Sjöstrom, 1917), Eldorado (M. L’Herbier, 1921), Nosferatu the Vampire (F. W. Murnau, 1922), Battleship Potëmkin (S.M. Ejzenštejn, 1926), The Passion of Joan of Arc (C.T. Dreyer, 1928), The Man with a Movie Camera (D. Vertov, 1929), Limite (M. Peixoto, 1931), Sisters of Gion (Mizoguchi K., 1936), Pépé le Moko (J. Duvivier, 1937), Stagecoach (J. Ford, 1939), The Rules of the Game (J. Renoir, 1939), Citizen Kane (O. Welles, 1941)

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

FILMOGRAFIA: Selezione di cortometraggi; Hugo Cabret (Martin Scorsese, 2011), Intolerance (Intolleranza, D.W.Griffith, 1916), Sherlock Jr (La palla n.13, B.Keaton, 1924), Das Cabinet des Dr.Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919), Metropolis (Id. F.Lang, 1926), Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926), City Lights (Luci della città, Charles Chaplin, 1931), Bringing up baby (Susanna, Howard Hawks, 1938), Singing in the Rain (Cantando sotto la pioggia, Stanley Donen-Gene Kelly, 1952), La régle du jeu (La regola del gioco, Jean Renoir, 1939),Citizen Kane (Quarto Potere, Orson Welles, 1941).

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

OBJECTIVES AND PROGRAMME
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.

TEXTS AND FILMOGRAPHY FOR THE EXAMS:
1) Alfonso Cipolla, Giovanni Moretti, Storia dei burattini e delle marionette in Italia, Corazzano, Titivillus, 2011

2) DISPENSE per i frequentanti

3) scegliere tra uno dei seguenti volumi:
e) Cipolla Alfonso, Le note dei Sogni. I compositori del Teatro dei Piccoli di Vittorio Podrecca, Corazzano, ed. Titivillus, 2014
f) Mariano Dolci, Vito Minoia, Dialogo sul trasferimento del burattino in educazione, Urbino, Edizioni Nuove Catarsi, 2009
g) Silvano Antonelli, Il Cassetto aperto-99 post tra teatro e ragazzi, Corazzano, Titivillus, 2015
h) Giorgio Agamben, Pulcinella ovvero Divertimento per li regazzi, Roma, ed. nottetempo, 2015

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 actor is not who acts the scene, but who reacts to the scene».
Beginning from this sentence of Leo de Berardinis will be explored the creativeness of the actor.
The concept to «staging feeling » will be set to the center of the reflections.
The exercises of stage practices will be examined trough some scenes drawn by the dramatic literature.

Alessandra Cristiani

Dance Laboratory
Dance research utilizing the practices of Butoh and Eurythmy

The goal of this project is to offer an experience of training in and exploration of movement and dance. The laboratory is open to students and will allow them to come into contact with their personal creative ability. The intent is to deepen an holistic approach to movement which will manifest the individual’s humanity, allowing a corresponding dance to emerge: the only dance possible. Methodological tools will be introduced to guide in the process of thinking about and creating from the specific nature of the human being. The identification of internal physical dynamics and deeply rooted organic reflex mechanisms will be explored.
The meetings will consist of a first part dedicated to a warm-up, followed by structured dance exercises, leading to improvisation work.
The training phase is not only important as a physical warm-up, but above all as a necessary condition to awaken a readiness to dance. Through specific exercises, the students will gradually acquire elasticity and balance and an intuitive intelligence of the body. This will prepare the body to be ready and efficient for an authentic, bold performance action.
Emphasis will be given to the use of simple and accurate breathing techniques which render the bone and muscle structures softer, allowing more freedom in the joints. In Asian practices, the joints are considered to be creative, acoustic spaces which permit a more organic flow of energy in an action and therefor a more intense physical presence in the space.
Vocal work will be introduced, specifically vocalization of vowel and consonant sounds of language for a heightened awareness of the dynamic between internal/personal space and a choral,shared external space. The power of vocalization will subtly intercept the invisible, essential and regenerative energy of the creative act.
Steinerian Eurythmy forms will be explored to train the body to move organically through space in all directions, perceiving it in all of its volumes.
Concerning artistic creation, the work will pass from the breathing exercises visited in the training phase, to the expression of defined dance exercises. The natural mechanics of the body will be translated poetically through both dance imagery and themes to work with and explore. These physical states will be investigated in their diverse quantitive and qualitative levels in order to come closer to a more personal dance. Students will work from an initial inspirational dance into a free dance later.
The dance will not be considered as a succession of poses, but seen in its more profound nature: a movement in constant becoming.
The participants will begin to develop more intuitive creative faculties through the strategic use of dance imagery. Words, phrases and verse from both Western and Eastern cultures will be offered as a mysterious orientation, an enigmatic path to follow in the discovery of an internal landscape. Surprising and efficient in this sense, the suggestive, alogical force of Haiku will be utilized. These short compositions, considered the highest form of expression in zen culture, are recognized for the concise and fleeting nature of their images. The poems bring external reality beyond its visible aspect. They unify the spirit and the material, suggesting an instantaneous and emotive perception of reality. This perception is transmitted directly through the senses and an intimate comprehension of reality is gathered. In translating this image poetry into a creative methodology, the effect of the Haiku is found not in the attempt to appeal to a codified system, nor a creative talent, nor to a need for definition. It is found rather, in an attempt to find a sensibility, a personal essence, something which springs out of real moments of existence and that remain profoundly imprinted, waiting to be realized in dance.
The laboratory expects to conclude with a final action, open to the public.

The subject of the course applies to one of the most fruitful ideas of contemporary critic thought: the overcoming of traditional dualism between body and mind, in keeping with the development of an unitary concept of experience, in which feeling and reason continuously cooperate.

1- JOHN DEWEY, Esperienza e natura, Milano, Mursia, 2014 (only chapters I, II, IV, VII, VIII).
2- PAOLA ANTONELLI, Verso una nuova concezione del sentire (at present in the press; if not available, it must be replaced with MERLIN DONALD, L'evoluzione della mente, Torino, Bollati Boringhieri, 2011 ( only chapters IV,V,VI,VII).

Rhythm and storytelling
Cultural anthropology today 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):
- After an introduction to contemporary anthropology topics, the course consists of lectures, seminars and workshops focusing on the communicative musicality and narratives. The reference texts will be announced during the lectures
(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.

ITALIAN CINEMA. FROM THE ARRIVAL OF SOUND TO NEOREALISM
Italian cinema in the Fascist era. Origins and development of neorealism 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: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (in particolare le pp. 73-204); David Bruni, Commedia degli anni anni trenta, Il Castoro, Milano 2013; Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014 e 2016; a selection of texts edited by the teacher (available at the beginning of the course at the copisteria in Via G. Rocco, n. 11).
FILMOGRAPHY: Gli uomini, che mascalzoni… (1932) di M. Camerini; 1860 (1934) di A. Blasetti); Vecchia guardia (1935) di A. Blasetti; Dora Nelson (1939) di M. Soldati; I grandi magazzini (1939) di Mario Camerini; Ossessione (1943) di L.Visconti; Paisà (1946) di R. Rossellini; Germania anno zero (1948) di R. Rossellini; Ladri di biciclette (1948) di V. De Sica; La terra trema (1948) di L.Visconti; 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; Lo sceicco bianco (1952) di F. Fellini; Pane, amore e fantasia (1953) di L. Comencini; 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 program is the same 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.

The bibliography is the same of the one you can find in the course of Storia e Conservazione del Patrimonio Artistico e Archeologico. Reading of one on the suggested books is also required.

Rhythm and storytelling
Cultural anthropology today 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):
- After an introduction to contemporary anthropology topics, the course consists of lectures, seminars and workshops focusing on the communicative musicality and narratives. The reference texts will be announced during the lectures
(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 subject of the course applies to one of the most fruitful ideas of contemporary critic thought: the overcoming of traditional dualism between body and mind, in keeping with the development of an unitary concept of experience, in which feeling and reason continuously cooperate.

1- JOHN DEWEY, Esperienza e natura, Milano, Mursia, 2014 (only chapters I, II, IV, VII, VIII).
2- PAOLA ANTONELLI, Verso una nuova concezione del sentire (at present in the press; if not available, it must be replaced with MERLIN DONALD, L'evoluzione della mente, Torino, Bollati Boringhieri, 2011 ( only chapters IV,V,VI,VII).

Introduction to the history of documentary cinema and a focus on Vittorio De Seta's documentaries.

Quaderni del cinema del reale, Omaggio a Vittorio De Seta, n. 3, uscita novembre 2016.
Marco Bertozzi, Storia del documentario italiano, Marsilio, 2007

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.

Students are required to master the lessons' content.

Main themes: Hollywood cinema in the 1940s. Italian cinema in the 1940s and Neorealism. 1950s: film genres in Europe and Hollywood. 1950s: narrative forms and styles. New Waves and art cinema in the 1960s. Experimental films: a few examples. New Hollywood in the 1970s. European cinema in 1970s and 1980s. Blockbusters and global franchises. World cinema and contemporary films.

Presence is strongly recommended. Bibliography and filmography are essential.

Books:
Kristin Thompson & David Bordwell, Film History: An Introduction, McGraw Hill, 2010, chapters 11-20 + Appendix (pp. 173-472 + 525-548)
Vincenzo Buccheri, Il film. Dalla sceneggiatura alla distribuzione, Carocci, 2003

Films:
Mildred Pierce, Michael Curtiz, US 1945
Roma città aperta, Rome Open City, Roberto Rossellini, IT 1945
Rashômon, Akira Kurosawa, JP 1950
All About Eve, Joseph Leo Mankiewicz, US 1950
Domenica d’agosto, Sunday in August, Luciano Emmer, 1950
Singin’ in the Rain, Stanley Donen e Gene Kelly, US 1952
Vertigo, Alfred Hitchcock, US 1958
Hiroshima mon amour, Alain Resnais, JP-FR 1959
Persona, Ingmar Bergman, SW 1966
Blow up, Michelangelo Antonioni, UK 1966
Je, tu, il, elle, Chantal Akerman, B-FR 1974
Nashville, Robert Altman, US 1975
Taxi Driver, Martin Scorsese, US 1976
My Beautiful Laundrette, Stephen Frears, UK 1985
Die Hard, John McTiernan, US 1988
Fire, Deepa Mehta, IND 1996
The Matrix, The Wachowski Brothers, US 1999
Caché, Hidden, Michael Haneke, FR 2005

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. FROM 11 TO 20).
2. G. ALONGE, Il cinema. Tecnica e linguaggio. Un’introduzione, Kaplan, Torino 2011.

FILMOGRAPHY:
Roberto Rossellini, Roma città aperta (1945)
Yasujirō Ozu, Tōkiō Monogatari (Viaggio a Tokio, 1953)
Alfred Hitchcock, Vertigo (La donna che visse due volte, 1958)
Jean-Luc Godard, À bout de souffle (Fino all’ultimo respiro, 1960)
Dino Risi, Il sorpasso (1962)
Michelangelo Antonioni, Blow-up (1966)
Martin Scorsese, Taxi Driver (1976)
Brian De Palma, Blow Out (1981)
Jim Jarmusch, Stranger Than Paradise (1984)
James Cameron, Terminator 2: Judgment Day (Terminator 2. Il giorno del giudizio, 1991)
Cristopher Nolan, Memento (2000)

Ragionare e sentire: visuali pragmatiche

Module A
1) E. Kant, Antropologia dal punto di vista pragmatico, Piccola Biblioteca Einaudi, Milano 2010.
2) E. Stein, Il problema dell’empatia, Studium, Roma 1998: pp. 1-115.
3) R.M. Calcaterra, Filosofia della contingenza. La logica terapeutica di R. Rorty, Marietti, Genova 2016.

Module B
1) E. Stein, Il problema dell’empatia, Studium, Roma 1998: pp. 1-115.
2) R. Rorty, Saggi scelti, indicati e/o forniti dalla docente durante il corso.
3) R.M. Calcaterra, Filosofia della contingenza. La logica terapeutica di R. Rorty, Marietti, Genova 2016.

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

A book to be chosen from:
- B. Anderson, Comunità immaginate. Origini e fortuna dei nazionalimi, Roma, Manifestolibri, 2009 (pp. 238, € 20,00)
- E.W. Said, Orientalismo. L’immagine europea dell’Oriente, Milano, Feltrinelli, 2016 (pp. 395, € 23,00)

ITALIAN CINEMA. FROM THE ARRIVAL OF SOUND TO NEOREALISM
Italian cinema in the Fascist era. Origins and development of neorealism 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: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (in particolare le pp. 73-204); David Bruni, Commedia degli anni anni trenta, Il Castoro, Milano 2013; Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014 e 2016; a selection of texts edited by the teacher (available at the beginning of the course at the copisteria in Via G. Rocco, n. 11).
FILMOGRAPHY: Gli uomini, che mascalzoni… (1932) di M. Camerini; 1860 (1934) di A. Blasetti); Vecchia guardia (1935) di A. Blasetti; Dora Nelson (1939) di M. Soldati; I grandi magazzini (1939) di Mario Camerini; Ossessione (1943) di L.Visconti; Paisà (1946) di R. Rossellini; Germania anno zero (1948) di R. Rossellini; Ladri di biciclette (1948) di V. De Sica; La terra trema (1948) di L.Visconti; 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; Lo sceicco bianco (1952) di F. Fellini; Pane, amore e fantasia (1953) di L. Comencini; 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.

FRENCH CONTEMPORARY LITERATURE.
6cfu
Second semester

PROGRAM

André Breton and the Surrealism. Through the critical analysis of the novel Nadja (1928), this course focuses on the issues of the Surrealist movement as portrayed by Breton in the first Surrealist Manifesto, especially as far as the notions of dream, madness, marvelous and fantastic are concerned.

SYLLABUS:

1. HISTORY OF LITERATURE:
1.Il romanzo francese del Novecento edited by Sandra Teroni, Bari, Laterza, 2008.
2. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters I, III, IV, VII).

2. PRIMARY WORKS:
André Breton, Nadja, Torino, Einaudi, 1972.
André Breton, Manifesto del surrealismo; Id., Secondo manifesto del surrealismo; Id., I vasi comunicanti (estratto); Come in un bosco, in Per conoscere André Breton a cura di Ivos Margoni, Mondadori, 1976.

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

4. CRITICISM:
Beside the Introduction by Ivos Margoni to the essai Per conoscere André Breton, students must study the following texts (those attending lessons regularly only have to choose 2 texts)
-James Clifford, I frutti puri impazziscono, Torino, Bollati Boringhieri, 1993 (part I and II);
-Maurice Nadeau, Storia e antologia del surrealismo, Mondadori, 1980 ( for literary criticism).
-Traiettorie della modernità. Il surrealismo all’alba del terzo millennio edited by Germana Orlandi Cerenza, Torino, Lindau, 2003.

Those students who do attend lessons on a regular basis also have to study: Marina Galletti, Nadja di Breton ovvero in meraviglioso adulto, in AA.VV., Le soglie del fantastico II. A cura di Marina Galletti, Roma, Lithos, 2001; Mario Richter, Nadja di André Breton, analisi della prima sequenza, “Rivista di letterature moderne e comparate”, volume XXXVI, 1983, pp. 261-277,

5. FILMOGRAPHY:
Man Ray, Le Retour à la raison (1923), Emak Bakia (1927), , Le Mystère du château du Dé (1929); Francis Picabia, René Clair, Entr’Acte (1924); Marcel Duchamp, Man Ray Anémic cinéma (1926); Germaine Dulac, Antonin Artaud,, La coquille et le clergyman (1927); Man Ray, Robert Desnos, L’Etoile de mer (1928); Luis Buñuel, Un chien andalou (1928); L’Age d’or (1930).

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.Il romanzo francese del Novecento edited by Sandra Teroni, Bari, Laterza, 2008.
2. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters I, III, IV, VII).

2. PRIMARY WORKS:
André Breton, Nadja, Torino, Einaudi, 1972.
André Breton, Manifesto del surrealismo; Id., Secondo manifesto del surrealismo; Id., I vasi comunicanti (estratto); Come in un bosco, in Per conoscere André Breton a cura di Ivos Margoni, Mondadori, 1976.

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

4. CRITICISM:
Beside the Introduction by Ivos Margoni to the essai Per conoscere André Breton, students must study the following texts (those attending lessons regularly only have to choose 2 texts)
-James Clifford, I frutti puri impazziscono, Torino, Bollati Boringhieri, 1993 (part I and II);
-Maurice Nadeau, Storia e antologia del surrealismo, Mondadori, 1980 ( for literary criticism).
-Traiettorie della modernità. Il surrealismo all’alba del terzo millennio edited by Germana Orlandi Cerenza, Torino, Lindau, 2003.

Those students who do attend lessons on a regular basis also have to study: Marina Galletti, Nadja di Breton ovvero in meraviglioso adulto, in AA.VV., Le soglie del fantastico II. A cura di Marina Galletti, Roma, Lithos, 2001; Mario Richter, Nadja di André Breton, analisi della prima sequenza, “Rivista di letterature moderne e comparate”, volume XXXVI, 1983, pp. 261-277,

5. FILMOGRAPHY:
Man Ray, Le Retour à la raison (1923), Emak Bakia (1927), , Le Mystère du château du Dé (1929); Francis Picabia, René Clair, Entr’Acte (1924); Marcel Duchamp, Man Ray Anémic cinéma (1926); Germaine Dulac, Antonin Artaud,, La coquille et le clergyman (1927); Man Ray, Robert Desnos, L’Etoile de mer (1928); Luis Buñuel, Un chien andalou (1928); L’Age d’or (1930).

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

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.

handouts provided by the teacher
FILMOGRAPHY:
"Caesar Must Die" by Paolo and Vittorio Taviani.
"Naufragio con spettatore" di Fabio Cavalli

The workshop aims to develop skills of self-employment for the creation of new cultural and entertainment activities.
It 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.
For students not attending it's possible to achieve the CFU of the workshop through the preparation of a project under the guidance of the teacher, using the text to support.
The final exam consists of a business plan, completed in its entirety.
E-mail the professor: lucio.argano@gmail.com
Should be strictly defined student's name, serial number, number CFU incurred as appears from the student portal, the degree course.
The workshop is limited and the maximum number of members is 100 participants. Priority will be given to the order of submission of entries and the number of credits attained.
The minimum number of lessons to attend, on pain of exclusion from the laboratory, is 9.

Texts to support: L. Argano, C. Brizzi, M. Frittelli, G. Marinelli L'impresa di spettacolo dal vivo Officina, Rome, 2010;
Professor’s lecture notes downloadable from the website www.lucioargano.it.

FRENCH THEATRE OF THE 17TH CENTURY

Second 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 : variazioni sul mito. A cura di Maria Grazia Ciani, Marsilio, 2003.

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;
-Francesco Orlando, Due letture freudiane: Fedra e il Misantropo, Piccola Biblioteca Einaudi, 1990;
-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;
-Francesco Orlando, Due letture freudiane: Fedra e il Misantropo, Piccola Biblioteca Einaudi, 1990;
-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.

The course is formally divided in two classes (A-L taught by Enrico Menduni and M-Z taught by Marta Perrotta), but all students will be able to attend the whole teaching of both docents, thanks to lessons held in compatible time slots.
The course offers 4 modules, each of them composed by 6 three-hours frontal lessons.
First two modules, Television (taught by Enrico Menduni), and Radio (taught by Marta Perrotta), are compulsory for all students, both A-L and M-Z.
Two further modules will deal with monographic themes; regarding final exams, students can choose one only of the two.
- Enrico Menduni will teach a module on: “Terrorism Videos, since September 11 to ISIS”;
- Marta Perrotta will teach a module on: “Larger than life. Factual and fictional in contemporary TV production”.
Students attending these modules will be provided with and addictional bibliography of suggested texts.

Students are invited to visit the docents’ website www.mediastudies.it where further information is provided. Lesson recordings, notes, slides, links, additional stuff will be available there.

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 attending Monographic modules ("Terrorism Videos, since September 11 to ISIS" e “Larger than life. Factual and fictional in contemporary TV production”) will be provided with and addictional bibliography of suggested texts.

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

The course is formally divided in two classes (A-L taught by Enrico Menduni and M-Z taught by Marta Perrotta), but all students will be able to attend the whole teaching of both docents, thanks to lessons held in compatible time slots. The course offers 4 modules, each of them composed by 6 three-hours frontal lessons. First two modules, Television (taught by Enrico Menduni), and Radio (taught by Marta Perrotta), are compulsory for all students, both A-L and M-Z. Two further modules will deal with monographic themes ; regarding final exams, students can choose one only of the two.
- Enrico Menduni will teach a module on : Terrorism Videos, since September 11 to ISIS ;
- Marta Perrotta will teach a module on : Larger than life. Factual and fictional in contemporary TV production.
Students attending these modules will be provided with and addictional bibliography of suggested texts.

Reference books
- 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 (copertina con fascia viola, non rossa) (cover with purple belt, not red belt).

- 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 (copertina con fascia viola, non rossa) (cover with purple belt, not red belt).

Reference books must be mandatorily implemented with lesson recordings, notes, slides, links, additional stuff that will be available on this site. Students attending monographic modules will be provided with and addictional bibliography of suggested texts.

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

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.

FUNDAMENTS OF SCIENTIFIC DEBATE ON PSYCHOLOGY. HSTORY OF PSYCHOANALYS. FREUD AND BREUER. FREUD AND FLIESS. FREUD AND JUNG. THE ORIGIN OF THE TECHNIQUE OF FREE ASSOCIATION. THE FIRST AND SECOND FREUDIAN TOPIC. ETIC AND FREUDIAN THEORY. THE INTERPRETATION OF DREAMS. FREUD AND MOSES OF MICHELANGELO. FREUD'S JEWISH HERITAGE. THE ORIGIN OF THE PSYCHOANALYTIC MOVEMENT IN ITALY.

S. FREUD, IL MOSE' DI MICHELANGELO. IN OPERE COMPLETE DI SIGMUND FREUD.
S. FREUD, L'INTERPRETAZIONE DEI SOGNI. IN OPERE COMPLETE DI SIGMUND FREUD.
E BONAVENTURA (1938). LA PSICOANALISI. (Ed. by D. Meghnagi). VENEZIA: MARSILIO, 2016.
D. MEGHNAGI, IL PADRE E LA LEGGE. VENEZIA: MARSILIO, 2015.

Alessandra Cristiani

Dance Laboratory
Dance research utilizing the practices of Butoh and Eurythmy

The goal of this project is to offer an experience of training in and exploration of movement and dance. The laboratory is open to students and will allow them to come into contact with their personal creative ability. The intent is to deepen an holistic approach to movement which will manifest the individual’s humanity, allowing a corresponding dance to emerge: the only dance possible. Methodological tools will be introduced to guide in the process of thinking about and creating from the specific nature of the human being. The identification of internal physical dynamics and deeply rooted organic reflex mechanisms will be explored.
The meetings will consist of a first part dedicated to a warm-up, followed by structured dance exercises, leading to improvisation work.
The training phase is not only important as a physical warm-up, but above all as a necessary condition to awaken a readiness to dance. Through specific exercises, the students will gradually acquire elasticity and balance and an intuitive intelligence of the body. This will prepare the body to be ready and efficient for an authentic, bold performance action.
Emphasis will be given to the use of simple and accurate breathing techniques which render the bone and muscle structures softer, allowing more freedom in the joints. In Asian practices, the joints are considered to be creative, acoustic spaces which permit a more organic flow of energy in an action and therefor a more intense physical presence in the space.
Vocal work will be introduced, specifically vocalization of vowel and consonant sounds of language for a heightened awareness of the dynamic between internal/personal space and a choral,shared external space. The power of vocalization will subtly intercept the invisible, essential and regenerative energy of the creative act.
Steinerian Eurythmy forms will be explored to train the body to move organically through space in all directions, perceiving it in all of its volumes.
Concerning artistic creation, the work will pass from the breathing exercises visited in the training phase, to the expression of defined dance exercises. The natural mechanics of the body will be translated poetically through both dance imagery and themes to work with and explore. These physical states will be investigated in their diverse quantitive and qualitative levels in order to come closer to a more personal dance. Students will work from an initial inspirational dance into a free dance later.
The dance will not be considered as a succession of poses, but seen in its more profound nature: a movement in constant becoming.
The participants will begin to develop more intuitive creative faculties through the strategic use of dance imagery. Words, phrases and verse from both Western and Eastern cultures will be offered as a mysterious orientation, an enigmatic path to follow in the discovery of an internal landscape. Surprising and efficient in this sense, the suggestive, alogical force of Haiku will be utilized. These short compositions, considered the highest form of expression in zen culture, are recognized for the concise and fleeting nature of their images. The poems bring external reality beyond its visible aspect. They unify the spirit and the material, suggesting an instantaneous and emotive perception of reality. This perception is transmitted directly through the senses and an intimate comprehension of reality is gathered. In translating this image poetry into a creative methodology, the effect of the Haiku is found not in the attempt to appeal to a codified system, nor a creative talent, nor to a need for definition. It is found rather, in an attempt to find a sensibility, a personal essence, something which springs out of real moments of existence and that remain profoundly imprinted, waiting to be realized in dance.
The laboratory expects to conclude with a final action, open to the public.

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.

Students are required to master the lessons' content.

FRENCH THEATRE OF THE 17TH CENTURY

Second 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 : variazioni sul mito. A cura di Maria Grazia Ciani, Marsilio, 2003.

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;
-Francesco Orlando, Due letture freudiane: Fedra e il Misantropo, Piccola Biblioteca Einaudi, 1990;
-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;
-Francesco Orlando, Due letture freudiane: Fedra e il Misantropo, Piccola Biblioteca Einaudi, 1990;
-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.

FUNDAMENTS OF SCIENTIFIC DEBATE ON PSYCHOLOGY. HSTORY OF PSYCHOANALYS. FREUD AND BREUER. FREUD AND FLIESS. FREUD AND JUNG. THE ORIGIN OF THE TECHNIQUE OF FREE ASSOCIATION. THE FIRST AND SECOND FREUDIAN TOPIC. ETIC AND FREUDIAN THEORY. THE INTERPRETATION OF DREAMS. FREUD AND MOSES OF MICHELANGELO. FREUD'S JEWISH HERITAGE. THE ORIGIN OF THE PSYCHOANALYTIC MOVEMENT IN ITALY.

S. FREUD, IL MOSE' DI MICHELANGELO. IN OPERE COMPLETE DI SIGMUND FREUD.
S. FREUD, L'INTERPRETAZIONE DEI SOGNI. IN OPERE COMPLETE DI SIGMUND FREUD.
E BONAVENTURA (1938). LA PSICOANALISI. (Ed. by D. Meghnagi). VENEZIA: MARSILIO, 2016.
D. MEGHNAGI, IL PADRE E LA LEGGE. VENEZIA: MARSILIO, 2015.

Bonini, T. (a cura di), La radio in Italia, Roma, Carocci, 2013
Zanchini, G., Leggere, cosa e come. Il giornalismo e l'informazione culturale nell'era della rete, Roma, Donzelli, 2016

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.

After a general introduction on digital art concepts and "hacker attitude" will show some examples of artistic digital use. They will show and explain the reasons and the design approaches of different works and artists. Students will then be invited to produce, individually or in small groups of three people, one of their projects accomplished with the supplied technologies, or to develop the presentation of a project which requires equipment not available. Students must already be able to accomplish basic tasks of filming and editing, how to surf the Internet and / or use basic programs of digital graphics. And 'obligatory to have a mail box to keep in touch with the teacher.

Giacomo Verde – ARTIVISMO TECNOLOGICO, scritti e interviste su arte, politica, teatro e tecnologie - Ed. BFS, Pisa – 2007
Scaricabile anche on-line da: http://www.verdegiac.org/artivismo.html

Tommaso Landolfi, manners of life

a) following texts by the treated author:

Tommaso Landolfi, «Le più belle pagine. Scelte da Italo Calvino», Adelphi 2001

plus one, by choice, among:

Tommaso Landolfi, «La pietra lunare», Adelphi 1995 and
Tommaso Landolfi, «Racconto d’autunno», Adelphi 2013

plus one, by choice, among:

Tommaso Landolfi, «LA BIERE DU PECHEUR», Adelphi 1999 e
Tommaso Landolfi, «Rien va», Adelphi 1998

b) following texts about the treated author:

«Scuole segrete. Tommaso Landolfi e il Novecento italiano», edited by Andrea Cortellessa, new edition, Aragno 2016
Andrea Cortellessa, «Il tradizionalista impazzito. Manierismo e autenticità di Tommaso Landolfi», Quodlibet 2017 (forthcoming)

c) to give a context in the 20th century literary history:

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

Rhythm and storytelling
Cultural anthropology today 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):
- After an introduction to contemporary anthropology topics, the course consists of lectures, seminars and workshops focusing on the communicative musicality and narratives. The reference texts will be announced during the lectures
(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.

Ragionare e sentire: visuali pragmatiche

Module A
1) E. Kant, Antropologia dal punto di vista pragmatico, Piccola Biblioteca Einaudi, Milano 2010.
2) E. Stein, Il problema dell’empatia, Studium, Roma 1998: pp. 1-115.
3) R.M. Calcaterra, Filosofia della contingenza. La logica terapeutica di R. Rorty, Marietti, Genova 2016.

Module B
1) E. Stein, Il problema dell’empatia, Studium, Roma 1998: pp. 1-115.
2) R. Rorty, Saggi scelti, indicati e/o forniti dalla docente durante il corso.
3) R.M. Calcaterra, Filosofia della contingenza. La logica terapeutica di R. Rorty, Marietti, Genova 2016.

Obiettivi formativi del corso:
Il corso affronta il tema della logica del metodo scientifico e della sua applicazione nelle scienze della comunicazione. Scopo del corso è quello di consentire alle studentesse e agli studenti di impostare e condurre correttamente il lavoro di indagine empirica, nonché di orientare la scelta degli strumenti di raccolta dei dati e delle informazioni in relazione ai diversi obiettivi cognitivi e tipi di ricerca, fornendo indicazioni circa la loro costruzione e somministrazione e la presentazione dei risultati.

Programma del corso:
Il corso prevede un’articolazione in tre parti. Nella prima parte verranno illustrati gli approcci alla ricerca sociale e gli aspetti relativi all’impostazione di un disegno della ricerca. Nella seconda parte sarà dedicata particolare attenzione alle principali tecniche di raccolta dei dati e delle informazioni: al questionario, alle interviste individuali e collettive, all’osservazione etnografica. Nella terza parte si discuterà, invece, delle tecniche di analisi e della presentazione e comunicazione dei risultati.
Durante le lezioni verranno illustrati esempi di ricerche condotte in diversi ambiti per descrivere le possibili strategie di ricerca e saranno condotte esercitazioni per chiarire l’uso di ciascuna tecnica.

Metodi didattici:
La didattica verrà organizzata mediante lezioni frontali e esercitazioni

Bibliografia:

Testo d’esame
Amaturo E. (2012), Metodologia della ricerca sociale, UTET, Torino (esclusi i capitolo 9 e 11)

Testi consigliati
Bichi R. (2002), L’intervista biografica. Una proposta metodologica, Vita e Pensiero, Milano
Cardano M. (2003), Tecniche di ricerca qualitativa, Carocci, Roma
Cellini E. (2008), L’osservazione nelle scienze umane, Franco Angeli, Milano
Gobo G. (2001), Descrivere il mondo. Teoria e pratica del metodo etnografico in sociologia, Carocci, Roma
Marradi A. (2007), Metodologia delle scienze sociali, Il Mulino, Bologna
Spreafico A. et al. (2016), Sociologia, immagini e ricerca visuale, Vol. 7, N° 14 della rivista Società Mutamento Politica, http://www.fupress.net/index.php/smp/issue

Theoric contextualization of electronic arts’s experience in chronologies and histories of the arts, in relationship with Cinema, Television, Sound and Arts histories: focus on the Italy case.

- M. M. Gazzano, "Kinema. Il cinema sulle tracce del cinema. Dal film alle arti elettroniche, andata e ritorno", Exorma, Roma 2012, 2015.
- L. Leuzzi, S. Partridge, "REWIND/Italia. Early Video Art in Italy / I primi anni della videoarte in Italia", John Libbey Publishing, New Barnet 2016 (Italian/English).

Optional:
- A. Amaducci, "Videoarte. Storia, autori, linguaggi", Kaplan, Torino 2014;
- G. Balbi, P. Magaudda, "Storia dei media digitali. Rivoluzioni e continuità", Laterza, Bari 2014.
- V. Catricalà, "Media Art. Towards a New Definition of Arts in the Age of Technology", Gli Ori, Pistoia 2015

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.

Main themes: Classic Hollywood cinema; "Notorious" (A. Hitchcock, 1946) between classicism and modernity; Modern film and its language; Postmodernism in cinema; Contemporary television series.

Bibliography:

Veronica Pravadelli, Alfred Hitchcock. Notorious, 2° ed., Lindau, Torino, 2007
Kristin Thompson, Storytelling in Film and Television, Harvard University Press, 2003
Collection of essays

Filmography:

Bringing Up Baby, Howard Hawks, 1938
Notorious, Alfred Hitchcock, 1946
Strange Days, Kathryn Bigelow, 1995

Episodes from various television series (e.g. Twin Peaks, CSI)

Other sequences from films and television series will be showed in class.

Check the teacher's website https://ilariaadepascalis.wordpress.com/ for the final program.

ITALIAN CINEMA. FROM THE ARRIVAL OF SOUND TO NEOREALISM
Italian cinema in the Fascist era. Origins and development of neorealism 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: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (in particolare le pp. 73-204); David Bruni, Commedia degli anni anni trenta, Il Castoro, Milano 2013; Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014 e 2016; a selection of texts edited by the teacher (available at the beginning of the course at the copisteria in Via G. Rocco, n. 11).
FILMOGRAPHY: Gli uomini, che mascalzoni… (1932) di M. Camerini; 1860 (1934) di A. Blasetti); Vecchia guardia (1935) di A. Blasetti; Dora Nelson (1939) di M. Soldati; I grandi magazzini (1939) di Mario Camerini; Ossessione (1943) di L.Visconti; Paisà (1946) di R. Rossellini; Germania anno zero (1948) di R. Rossellini; Ladri di biciclette (1948) di V. De Sica; La terra trema (1948) di L.Visconti; 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; Lo sceicco bianco (1952) di F. Fellini; Pane, amore e fantasia (1953) di L. Comencini; 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.

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

Entertainment law of A. Miccichè - Artemide Editions, only chapters indicated by the teacher

The following chapters are not subject of examination and maybe therefore avoided:
chapter 5: all excluded; chapter 6 all excluded; chapter 7 include only from 7.1 to 7.10, avoid all the rest; chapter 8: all excluded; chapter 9 all excluded; chapter 10 exclude only 10.10, consider all the rest; chapter 11 exclude only 11.6, consider all the rest; chapter 13 exclud only 13.33 consider all the rest; chapter 14 exclude only 14.25 and 14.27 consider all the rest; chapter 15 consider only 15.1 and 15.2, exclude all the rest; chapter 16 exclude only 16.19 and 16.20 consider all the rest.

The chapters not listed above are to be fully studied.

1. Elements of Media Economics;
2. Elements of Audiovisual Economics;
3. Market scenario ;
4. Technological scenario;
5. Work Flow and Value Chain;
6. Business plan and start-up of a new audiovisual business;
7. National and international players;
8. Best practices by some business operators (cinema, tv series, documentaries, advertising, corporate, web).

ATTENDING STUDENTS
• G. Celata (a cura di), L’impresa audiovisiva : economia, scenari, tecnologie, mercato (Course lecture notes);
NON-ATTENDING STUDENTS
• G. Celata (a cura di), L’impresa audiovisiva : economia, scenari, tecnologie, mercato (Course lecture notes);
• R. Picard, Economia e finanza dei media, Guerini e Associati, 2005.

The workshop aims to develop and investigate themes, styles, authors and trends of contemporary photography with a special focus on photo-display. The topic of the lessons and working sessions is contemporary photography and its "mostrificazione".
The workshop is divided into two parts: a first section dedicated to the theory and the history of contemporary photography and its exhibitions; a second section devoted to a practical part where students will follow the differents stages of photo exhibition.

Required Texts:
Walter Benjamin, L’opera d’arte nell’epoca della sua riproducibilità tecnica – arte e società di massa, Torino, Einaudi.
Roland Barthes, La camera chiara, Torino Einaudi.
Alessandra Mauro, Photoshow – le mostre che hanno segnato la storia della fotografia, Roma, Contrasto, 2014
Antonio Pascale con Lorenzo Cicconi Massi, Francesco Cocco, Daniele Dainelli e Massimo Siragusa, Solo in Italia, Roma, Contrasto, 2013
During working sessions, other short texts will be recommended and provided.

Recommended Texts:
Charlotte Cotton, La fotografia come arte contemporanea, Torino, Einaudi, 2015
Giuliana Bruno, Pubbliche intimità – architetture e arti visive, Milano, Bruno Mondadori, 2007

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 list of texts will be announced at the beginning of the course

Introduction to the history of documentary cinema and a focus on Vittorio De Seta's documentaries.

Quaderni del cinema del reale, Omaggio a Vittorio De Seta, n. 3, uscita novembre 2016.
Marco Bertozzi, Storia del documentario italiano, Marsilio, 2007

Rhythm and storytelling
Cultural anthropology today 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):
- After an introduction to contemporary anthropology topics, the course consists of lectures, seminars and workshops focusing on the communicative musicality and narratives. The reference texts will be announced during the lectures
(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.

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

Entertainment law of A. Miccichè - Artemide Editions, only chapters indicated by the teacher

The following chapters are not subject of examination and maybe therefore avoided:
chapter 5: all excluded; chapter 6 all excluded; chapter 7 include only from 7.1 to 7.10, avoid all the rest; chapter 8: all excluded; chapter 9 all excluded; chapter 10 exclude only 10.10, consider all the rest; chapter 11 exclude only 11.6, consider all the rest; chapter 13 exclud only 13.33 consider all the rest; chapter 14 exclude only 14.25 and 14.27 consider all the rest; chapter 15 consider only 15.1 and 15.2, exclude all the rest; chapter 16 exclude only 16.19 and 16.20 consider all the rest.

The chapters not listed above are to be fully studied.

Frontal lessons dedicated to history and theory of photography will be interwined with the analysis of photo contents (or related to photography) also with presentations by groups of students coordinated by tutors.

- A. Pinotti, A. Somaini, Cultura visuale. Immagini sguardi media dispositivi, Torino, Einaudi, 2016
- E. Menduni, La fotografia, Bologna, il Mulino, 2008 (anche e-book).

Reference books must be mandatorily implemented with lesson recordings, notes, slides, links, additional stuff that will be available on www.mediastudies.it
Students not mastering Italian can apply to the docent and assistants to be addressed to textbooks in other languages.

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.

handouts provided by the teacher
FILMOGRAPHY:
"Caesar Must Die" by Paolo and Vittorio Taviani.
"Naufragio con spettatore" di Fabio Cavalli

«The actor is not who acts the scene, but who reacts to the scene».
Beginning from this sentence of Leo de Berardinis will be explored the creativeness of the actor.
The concept to «staging feeling » will be set to the center of the reflections.
The exercises of stage practices will be examined trough some scenes drawn by the dramatic literature.

The workshop aims to develop skills of self-employment for the creation of new cultural and entertainment activities.
It 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.
For students not attending it's possible to achieve the CFU of the workshop through the preparation of a project under the guidance of the teacher, using the text to support.
The final exam consists of a business plan, completed in its entirety.
E-mail the professor: lucio.argano@gmail.com
Should be strictly defined student's name, serial number, number CFU incurred as appears from the student portal, the degree course.
The workshop is limited and the maximum number of members is 100 participants. Priority will be given to the order of submission of entries and the number of credits attained.
The minimum number of lessons to attend, on pain of exclusion from the laboratory, is 9.

Texts to support: L. Argano, C. Brizzi, M. Frittelli, G. Marinelli L'impresa di spettacolo dal vivo Officina, Rome, 2010;
Professor’s lecture notes downloadable from the website www.lucioargano.it.

In the first part we will examine how TV production is changing in the new digital environment. In the second part we will focus on a particular stage of the production process (video editing). In addiction to the classroom lectures, we will have exercises, visits to studios and television sets, meetings with professionals.

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

PROGRAMME: The course of this year examines the most important historical themes in the Italian Theater and their relationships with the contemporary performances.

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);
The non-attending students must add to the program one of the following books : C. Meldolesi, Tra Totò e Gadda.Sei invenzioni sprecate dal teatro italiano, Bulzoni.

Ragionare e sentire: visuali pragmatiche

Module A
1) E. Kant, Antropologia dal punto di vista pragmatico, Piccola Biblioteca Einaudi, Milano 2010.
2) E. Stein, Il problema dell’empatia, Studium, Roma 1998: pp. 1-115.
3) R.M. Calcaterra, Filosofia della contingenza. La logica terapeutica di R. Rorty, Marietti, Genova 2016.

Module B
1) E. Stein, Il problema dell’empatia, Studium, Roma 1998: pp. 1-115.
2) R. Rorty, Saggi scelti, indicati e/o forniti dalla docente durante il corso.
3) R.M. Calcaterra, Filosofia della contingenza. La logica terapeutica di R. Rorty, Marietti, Genova 2016.

1. Elements of Media Economics;
2. Elements of Audiovisual Economics;
3. Market scenario ;
4. Technological scenario;
5. Work Flow and Value Chain;
6. Business plan and start-up of a new audiovisual business;
7. National and international players;
8. Best practices by some business operators (cinema, tv series, documentaries, advertising, corporate, web).

ATTENDING STUDENTS
• G. Celata (a cura di), L’impresa audiovisiva : economia, scenari, tecnologie, mercato (Course lecture notes);
NON-ATTENDING STUDENTS
• G. Celata (a cura di), L’impresa audiovisiva : economia, scenari, tecnologie, mercato (Course lecture notes);
• R. Picard, Economia e finanza dei media, Guerini e Associati, 2005.

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

A book to be chosen from:
- B. Anderson, Comunità immaginate. Origini e fortuna dei nazionalimi, Roma, Manifestolibri, 2009 (pp. 238, € 20,00)
- E.W. Said, Orientalismo. L’immagine europea dell’Oriente, Milano, Feltrinelli, 2016 (pp. 395, € 23,00)

THE "PIXAR SYSTEM": TECHNOLOGY, AESTHETICS, IDEOLOGY.

C. Uva, Impronte digitali. Il cinema e le sue immagini tra regime fotografico e tecnologia numerica, Bulzoni, Roma, 2009.
C. Uva, Il sistema Pixar, Il Mulino, 2017.

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

PROGRAMME: the course is composed of 9 sections:
1. National and European legal framework of financial support to the audiovisual sector;
2. Selective financial support;
3. Tax credit measures;
4. Automatic financial support and support to film theatres
5. Financial support to film promotion activities;
6. The role of broadcasters;
7. The role of Regions and Film Commissions;
8. Co-productions: Eurimages;
9. Creative Europe – Co-development Funds;
10. Europe: a comparative analysis;
11. Draft of the bill on “Cinema, Audiovisual Sector and Performing Arts regulation, government mandate on the matter”.

TEXTS FOR THE EXAMINATION:
• Provided during the lessons

FRENCH CONTEMPORARY LITERATURE.
6cfu
Second semester

PROGRAM

André Breton and the Surrealism. Through the critical analysis of the novel Nadja (1928), this course focuses on the issues of the Surrealist movement as portrayed by Breton in the first Surrealist Manifesto, especially as far as the notions of dream, madness, marvelous and fantastic are concerned.

SYLLABUS:

1. HISTORY OF LITERATURE:
1.Il romanzo francese del Novecento edited by Sandra Teroni, Bari, Laterza, 2008.
2. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters I, III, IV, VII).

2. PRIMARY WORKS:
André Breton, Nadja, Torino, Einaudi, 1972.
André Breton, Manifesto del surrealismo; Id., Secondo manifesto del surrealismo; Id., I vasi comunicanti (estratto); Come in un bosco, in Per conoscere André Breton a cura di Ivos Margoni, Mondadori, 1976.

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

4. CRITICISM:
Beside the Introduction by Ivos Margoni to the essai Per conoscere André Breton, students must study the following texts (those attending lessons regularly only have to choose 2 texts)
-James Clifford, I frutti puri impazziscono, Torino, Bollati Boringhieri, 1993 (part I and II);
-Maurice Nadeau, Storia e antologia del surrealismo, Mondadori, 1980 ( for literary criticism).
-Traiettorie della modernità. Il surrealismo all’alba del terzo millennio edited by Germana Orlandi Cerenza, Torino, Lindau, 2003.

Those students who do attend lessons on a regular basis also have to study: Marina Galletti, Nadja di Breton ovvero in meraviglioso adulto, in AA.VV., Le soglie del fantastico II. A cura di Marina Galletti, Roma, Lithos, 2001; Mario Richter, Nadja di André Breton, analisi della prima sequenza, “Rivista di letterature moderne e comparate”, volume XXXVI, 1983, pp. 261-277,

5. FILMOGRAPHY:
Man Ray, Le Retour à la raison (1923), Emak Bakia (1927), , Le Mystère du château du Dé (1929); Francis Picabia, René Clair, Entr’Acte (1924); Marcel Duchamp, Man Ray Anémic cinéma (1926); Germaine Dulac, Antonin Artaud,, La coquille et le clergyman (1927); Man Ray, Robert Desnos, L’Etoile de mer (1928); Luis Buñuel, Un chien andalou (1928); L’Age d’or (1930).

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.Il romanzo francese del Novecento edited by Sandra Teroni, Bari, Laterza, 2008.
2. G. Macchia, M. Colesanti, E Guaraldo, G, Marchi, G. Rubino; G. Violato, La letteratura francese del Novecento, Milano, Biblioteca universale Rizzoli (chapters I, III, IV, VII).

2. PRIMARY WORKS:
André Breton, Nadja, Torino, Einaudi, 1972.
André Breton, Manifesto del surrealismo; Id., Secondo manifesto del surrealismo; Id., I vasi comunicanti (estratto); Come in un bosco, in Per conoscere André Breton a cura di Ivos Margoni, Mondadori, 1976.

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

4. CRITICISM:
Beside the Introduction by Ivos Margoni to the essai Per conoscere André Breton, students must study the following texts (those attending lessons regularly only have to choose 2 texts)
-James Clifford, I frutti puri impazziscono, Torino, Bollati Boringhieri, 1993 (part I and II);
-Maurice Nadeau, Storia e antologia del surrealismo, Mondadori, 1980 ( for literary criticism).
-Traiettorie della modernità. Il surrealismo all’alba del terzo millennio edited by Germana Orlandi Cerenza, Torino, Lindau, 2003.

Those students who do attend lessons on a regular basis also have to study: Marina Galletti, Nadja di Breton ovvero in meraviglioso adulto, in AA.VV., Le soglie del fantastico II. A cura di Marina Galletti, Roma, Lithos, 2001; Mario Richter, Nadja di André Breton, analisi della prima sequenza, “Rivista di letterature moderne e comparate”, volume XXXVI, 1983, pp. 261-277,

5. FILMOGRAPHY:
Man Ray, Le Retour à la raison (1923), Emak Bakia (1927), , Le Mystère du château du Dé (1929); Francis Picabia, René Clair, Entr’Acte (1924); Marcel Duchamp, Man Ray Anémic cinéma (1926); Germaine Dulac, Antonin Artaud,, La coquille et le clergyman (1927); Man Ray, Robert Desnos, L’Etoile de mer (1928); Luis Buñuel, Un chien andalou (1928); L’Age d’or (1930).

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 module will aim at the production of an audiovisual product freely inspired by novel "La peggio gioventù".
It shall be divided into three parts, each dedicated to the three different steps of the audiovisual production process: the writing stage (from the idea to the script), the production stage (pre-production and shooting) and the post-production stage (video and sound editing).
Each one of the three steps will consist of a brief theorical introduction followed by a lab stage.

Francesco Crispino, La peggio gioventù, NewtonCompton, Rome 2016

The module will aim at the production of an audiovisual product freely inspired by novel "La peggio gioventù".
It shall be divided into three parts, each dedicated to the three different steps of the audiovisual production process: the writing stage (from the idea to the script), the production stage (pre-production and shooting) and the post-production stage (video and sound editing).
Each one of the three steps will consist of a brief theorical introduction followed by a lab stage.

Francesco Crispino, La peggio gioventù, NewtonCompton, Rome 2016