Title: Music and Emotions

The course will explore the following questions:
What is the relationship between music and emotions?
How can we justify attributing emotional qualities to music? What do we mean when we say, for example, that certain music is sad, joyful, or melancholic?
How can music evoke emotions (such as excitement, sadness, euphoria) in the listener?
How can we explain our emotional responses to music?
Finally, what kinds of emotions are generated by music listening?

- Kivy, P., An Introduction to the Philosophy of Music, Clarendon Press 2022 (chapters. 1-7).
- Hanslick, E., On the Beautiful in Music (any English edition) (chapters 1-3).
- Langer, S., Philosophy in a New Key (any edition) (ch. 8: On significance in music).
- Lentini, D., La musica e le emozioni. Percorsi nell’estetica analitica, Mimesis, Milano, 2014 (chapters 1, 2, 4, 5)
- Mado Proverbio, A., Neuroscienze cognitive della musica, Zanichelli, Roma, 2019 (chapters 11, 12, 13).

From Cartesian grammar to the pragmatics of language

This course aims to address one of the classic themes in the philosophy of language: the debate between models that are inspired by the Cartesian-rationalist tradition and theoretical perspectives that, by referring to the actual contexts of language use, promote a view based on the pragmatic aspects of human communication. The aim of the course is to show how this debate has important repercussions on the issue of human nature.

- Chomsky N. (1988) Linguaggio e problemi della conoscenza. Bologna: Il Mulino
- Tomasello M. (2014) Unicamente Umano: storia naturale del pensiero. Bologna: Il Mulino
- Ferretti F. (2015) La facoltà di linguaggio. Roma: Carocci.

The course will start from two Chateaubriand’s texts and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

F.-R. Chateaubriand, Atala-René (traduzione Bruno Nacci), Garzanti 2006

A. Breton, Nadja (traduzione Giordano Falzoni), Torino, Einaudi, 2007

V. Magrelli, Profilo del dada, Roma, Laterza 2006

MODERNISM AND MODERNISMS, 1880-1940

This course introduces students to the historical developments and key figures in the visual arts of modernism - from around 1880 to 1940 - focusing on issues such as their relationship to technology and new media (photography, cinema), political and social context, urban and natural environments, and psychic life. These artistic experiences not only helped to transform the nature of aesthetic experience, opening up new forms of sensibility, but also radically redefined the understanding of individual and collective reality.

The analysis of the different trends and poetics will also provide the basic methodology for the study of the media and languages that characterise art between the mid-nineteenth and early twentieth centuries, providing the critical tools essential for reading different types of works.

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 (PDF)
Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108 (PDF)
Additional texts will be indicated in the course of the lectures.

The course analyzes the relationship between art and the environment, starting from the avant-gardes to the second half of the twentieth century in which artistic intervention explodes in installations, often realized in situ or site-specific, in the exhibition space, in nature or in public space.
Although women artists have made a fundamental contribution to these practices, the historical exhibitions that have dedicated in-depth analysis to these aspects of research have almost ignored their contribution. This has led to the marginalization of figures who have only in recent years been recovered by studies through monographic studies or collective exhibitions such as "Ambienti 1956-2010. Environments by Women Artists" (ongoing at the Maxxi Museum, Rome, from 10 April to 20 October 2024). Starting from these considerations, we will focus on theoretical and methodological perspectives that substantiate current historical-artistic research in questioning the dominant patriarchal canon and will propose a reflection on the rewriting of the history of the international environment.
From the relationship between art and the environment, the course will also focus on the exhibition as an installation and immersive space and on the forms of the contemporary art museum, in the dynamics of spectatorship and multimedia and multisensory dimension.
The following topics will be analysed:
- Beyond painting and sculpture. The relationship between art and space in Futurism, Constructivism and Dada;
- Marcel Duchamp's exhibitions and curatorial practice;
- Environment and Happening;
- From Arte Povera to Land Art;
- A new ideology of the exhibition space: exhibitions and galleries between the Sixties and Seventies;
- Site specific and time specific: environmental installations as immersive spaces;
Three exhibitions compared: Lo spazio dell'immagine / The space of the image (1967), Arte/Ambiente / Environment / Art (1976), Environments 1956-2010. Environments by Women Artists (2024).

1) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002

2) F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016

3). Texts and images projected during lectures (available at the end of the course in teams).

COMMON PROGRAM FOR ALL STUDENTS (6 ETCS):

- The sources and principles of entertainment law.
- The subjects operating in the entertainment world.
- The object of protection and the legal notion of art.
- Artists and labor law.
- The organization of the entertainment market and economic incentives for the sector.
- Contracts in the cinema sector.
- Contracts for theater artists.
- The contracts of the recording industry.
- The protection of copyright.
- Copyright and protection of artists in the area of new technologies.

INTEGRATION FOR THE ONLY STUDENTS ATTENDING THE DEGREE COURSE IN "ECONOMICS OF CULTURE" - DEPARTMENT OF ECONOMICS (3 ECTS):

- The legal framework of the "creative enterprises": premises.
- Techniques of legal regulation of cultural and creative activities.
- The legal forms of "creative enterprises".
- Contracts relevant to the "creative enterprise".
- The case of the "influencers" and the regulatory regulation of the phenomenon.

Ask the Professor for English lectures.

The course aims to provide an overview of relevant filmological and mediological issues from an aesthetic, theoretical/methodological and cultural perspective. In particular, historically relevant authors and trends, as well as more recent issues will be considered. The theme of the course is narrative; lessons will focus on narratological issues, on widespread narrativity in contemporary media products and practices, and on more recent storytelling strategies.

1) Byung-Chul Han, "La crisi della narrazione. Informazione, politica e vita quotidiana", Einaudi, Torino 2024 (en. tr. "The Crisis of Narration", Polity, Cambridge 2024);
2) Stefano Calabrese, "Manuale di comunicazione narrativa", Pearson, Milano-Torino 2019 (chapters 1-6, with the exception of pp. 23-30, 169-197 e 259-263),
or the new version: Stefano Calabrese, "La narrazione. Letteratura, storie di vita, visual storytelling", Pearson, Milano-Torino 2024 (chapters 1-5);
3) a text to choose from the following:
Andrea Fontana, "Regimi di verità. Convivere con leggende e fatti alternativi", Codice, Torino 2019;
Andrea Fontana, "Brand storiverso. Universi narrativi per marchi che sono persone e persone che diventano brand", Roi, Macerata-Milano 2023.

Title: Music and Emotions

The course will explore the following questions:
What is the relationship between music and emotions?
How can we justify attributing emotional qualities to music? What do we mean when we say, for example, that certain music is sad, joyful, or melancholic?
How can music evoke emotions (such as excitement, sadness, euphoria) in the listener?
How can we explain our emotional responses to music?
Finally, what kinds of emotions are generated by music listening?

- Kivy, P., An Introduction to the Philosophy of Music, Clarendon Press 2022 (chapters. 1-7).
- Hanslick, E., On the Beautiful in Music (any English edition) (chapters 1-3).
- Langer, S., Philosophy in a New Key (any edition) (ch. 8: On significance in music).
- Lentini, D., La musica e le emozioni. Percorsi nell’estetica analitica, Mimesis, Milano, 2014 (chapters 1, 2, 4, 5)
- Mado Proverbio, A., Neuroscienze cognitive della musica, Zanichelli, Roma, 2019 (chapters 11, 12, 13).

The course will start from two Chateaubriand’s texts and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

F.-R. Chateaubriand, Atala-René (traduzione Bruno Nacci), Garzanti 2006

A. Breton, Nadja (traduzione Giordano Falzoni), Torino, Einaudi, 2007

V. Magrelli, Profilo del dada, Roma, Laterza 2006

a) Pier Paolo Pasolini, La Divina Mimesis, Milano, Mondadori, 2019

b) Pier Paolo Pasolini, Petrolio, edited by Walter Siti, Milano, Garzanti, 2022

c) Marco Antonio Bazzocchi, Alfabeto Pasolini, Roma, Carocci, 2022

d) Vedere, Pasolini, edited by Andrea Cortellessa and Silvia De Laude, Vicenza, Ronzani, 2022 + Andrea Cortellessa, Una ragione in più per andare all’Inferno. Vedere, Pasolini, Roma, Treccani, 2025

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

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

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

WIT
Wit is a research workshop open to performers and students in choreographic and theoretical disciplines. The project stems from the need to extend the scenic language that emerged in the creation of JUMP! into a series of physical practices that hone sensitivity and compositional skills on stage.
The word WIT generally indicates wit, intelligence, the ability to think and react quickly and with humour to a stimulus. It synthesises the posture of the performer who is able to jump and respond instantly to an obstacle by integrating it into his or her own system and at the same time to 'jump' the thought/action a little further and take it to an unexpected place.
This workshop aims to advance the invention of a choreographic and scenic methodology centred on WIT, the ability and speed with which one responds to a challenge with humour.
 The guiding themes will be falling, jumping and suspension, investigated through the training of a body 'in disarray' and in continuous disequilibrium.
The workshop is partly intended for the transmission of scores written in different languages: minimal/abstract dance choreographies and concrete scores related to lightness and comedy. 
Participants will be asked to contribute to the creation of further scores through their own gestural heritage.
Finally, we will arrive at the elaboration of collective systemic rules, which allow different languages to coexist in the same space and reinforce each other rhythmically in which each performer will be responsible for the collective system.
Each day will open with a physical training deepened by exercises taken from some somatic techniques related to breathing (Alexander and Sensitive Dance in particular) to train the bodies in sensorial and perceptive attention. The work will then extend to simple choreographic practices that emphasise the systemic dimension of scenic movement; then, through the study and citation of works by visual artists, elements of composition that can be developed in an individual space reserved at the end of each day.

The workshop is organized as a mixed pedagogical setting that alternates stage practice with historical reflection, aiming to approach empirically the principles of Theatre Anthropology as identified by Eugenio Barba during the ISTA (International School of Theatre Anthropology) sessions and then make them conscious through some theoretical observations.
Will be provided some of the tools that lead to developing a certain quality of stage presence. Presence of the feet, of the voice and of the body intended as body-mind. The workshop will be shaped firstly along the guidelines of the training, specifically psychophysical training – the work on oneself based on exercises from eastern (especially those based on the technique by the Japanese master Tadashi Suzuki) and western stage crafts. Within this, focus will be given to the work on rhythm and rhythmic actions, that is actions generated in reaction to an external impulse, e.g. music; other key points will be the work on intentions, on the ‘body to body’ communication, and on the differences between choral voice and individual voice).
A second guideline of the workshop will be improvisation as in the meaning given by Stanislavsky, relating to the construction of a character.
Finally, the work will be completed along the third guideline of research on the score, intended as a construction of individual and of group materials based on the play Antigone. The score will also serve as process for approaching the concept of physical and vocal stage dialogue, the principle of action-reaction and a certain quality of listening, psychophysical as well.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
The transmission and learning of any technique mean learning a way to stand in life. A path. A way to breathe, to resist, to measure oneself against one’s limits to look for ways to overcome them.

Sofocle, Antigone (Einaudi editore, translation by Massimo Cacciari, ISBN 9788806188764)

The course aims at:
- providing the basics of sound and light physics;
- providing a historical and theoretical panorama on the nature of light, from the ancient world to modern theories and applications;
- providing a historical and theoretical panorama on the nature of sound, from the ancient world to modern theories and applications;
- illustrating the phenomena connected with generation and propagation of sound waves, with particular reference to the voice and musical instruments;
- illustrating the phenomena connected with generation and propagation of light waves, with particular reference to artificial light;
- understanding the perceptual processes of sound and light in relation to the physical aspects and the nature of the human ear and eye;
- illustrating the fundamental mechanisms which are at the base of sound and light technical applications in the entertainment field.

Material provided by the lecturer.

The course will retrace the evolution of melodrama from its origins to the early 20th century, providing students with the main tools of linguistic analysis for this highly and rigidly formalized genre. The focus will be on the linguistic habits of opera librettos: on the metric-rhythmic, syntactic-textual, lexical and dramaturgical conventions. The history of the writing of the opera will also be retraced through the reading and linguistic commentary of portions of librettos produced from the 17th to the 20th century.

— Vittorio Coletti (2017), "Da Monteverdi a Puccini. Introduzione all'opera italiana". Nuova edizione riveduta e ampliata, Torino, Einaudi.
— Ilaria Bonomi, Edoardo Buroni (2017), "La lingua dell'opera lirica", Bologna, il Mulino.
— Photocopies made available by the teacher.

a) Pier Paolo Pasolini, La Divina Mimesis, Milano, Mondadori, 2019

b) Pier Paolo Pasolini, Petrolio, edited by Walter Siti, Milano, Garzanti, 2022

c) Marco Antonio Bazzocchi, Alfabeto Pasolini, Roma, Carocci, 2022

d) Vedere, Pasolini, edited by Andrea Cortellessa and Silvia De Laude, Vicenza, Ronzani, 2022 + Andrea Cortellessa, Una ragione in più per andare all’Inferno. Vedere, Pasolini, Roma, Treccani, 2025

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

The course will follow a chronological path through the history of documentary film through some keywords. The historiographical path structured in a chronological way will be articulated through some thematic articulations concerning above all the ethical questions (representability or irrapresentability of some aspects of the real) in relation to the starting reality and the social actor, the performative and authorial issue of documentary cinema and the question of spectator reception. The chosen filmography follows an exemplary path both from the historical and thematic point of view. The second part of the course will be monographic and will be dedicated to the representation of the wild nature in the cinema of the Italian and international documentary.
The course also includes meetings with professionals in the documentary industry in order to put students directly in contact with the professions of cinema.

Marco Bertozzi-Ivelise Perniola (a cura di). Storia del cinema documentario, Roma, Carocci, 2025 (in corso di pubblicazione).
Dispense a cura della docente.

Dispense a cura della docente caricate su Moodle all’inizio del corso.

FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.

Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Luis Bunûel, Las Hurdes (1936)
Joris Ivens, Terra di Spagna (1937)
Luciano Emmer, Racconto da un affresco (1938)
McAllister-Jannings, Listen to Britain (1942)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
id. Parabola d'oro (1955)
id. Un giorno in Barbagia (1958)
Cecilia Mangini, Stendalì (1959)
id. Essere donne (1965)
Gian Franco Mingozzi, La Taranta (1962)
id. Li mali mestieri (1963)
Pier Paolo Pasolini, Appunti per un'Orestiade Africana (1970)
Chris Marker, Sans Soleil (1982)
Pietro Marcello, La bocca del lupo (2009)
Alina Marazzi, Un'ora sola ti vorrei (2012)

The course aims to provide an overview of relevant filmological and mediological issues from an aesthetic, theoretical/methodological and cultural perspective. In particular, historically relevant authors and trends, as well as more recent issues will be considered. The theme of the course is narrative; lessons will focus on narratological issues, on widespread narrativity in contemporary media products and practices, and on more recent storytelling strategies.

1) Byung-Chul Han, "La crisi della narrazione. Informazione, politica e vita quotidiana", Einaudi, Torino 2024 (en. tr. "The Crisis of Narration", Polity, Cambridge 2024);
2) Stefano Calabrese, "Manuale di comunicazione narrativa", Pearson, Milano-Torino 2019 (chapters 1-6, with the exception of pp. 23-30, 169-197 e 259-263),
or the new version: Stefano Calabrese, "La narrazione. Letteratura, storie di vita, visual storytelling", Pearson, Milano-Torino 2024 (chapters 1-5);
3) a text to choose from the following:
Andrea Fontana, "Regimi di verità. Convivere con leggende e fatti alternativi", Codice, Torino 2019;
Andrea Fontana, "Brand storiverso. Universi narrativi per marchi che sono persone e persone che diventano brand", Roi, Macerata-Milano 2023.

The course aims at:
- providing the basics of sound and light physics;
- providing a historical and theoretical panorama on the nature of light, from the ancient world to modern theories and applications;
- providing a historical and theoretical panorama on the nature of sound, from the ancient world to modern theories and applications;
- illustrating the phenomena connected with generation and propagation of sound waves, with particular reference to the voice and musical instruments;
- illustrating the phenomena connected with generation and propagation of light waves, with particular reference to artificial light;
- understanding the perceptual processes of sound and light in relation to the physical aspects and the nature of the human ear and eye;
- illustrating the fundamental mechanisms which are at the base of sound and light technical applications in the entertainment field.

Material provided by the lecturer.

The course addresses the relationship between music and image by offering an overview of some fundamental aspects of musical iconography and the characteristics that this relationship assumes in audiovisual context, considering, both historically and analytically, film music. An investigation path will be outlined that goes from one side to the other, following the topic of the musician's image, as it is reflected, constructed, staged through the resources of the graphic and pictorial arts, then through those of audiovisual narration, from the portrait of the musician of the 17th-18th centuries to the musical biographical film.

1. Federico Maria Sardelli, Il volto di Vivaldi, Palermo, Sellerio, 2021, pp. 13-176, 242-266

2. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-682 e 819-832

3. Gianmario Borio, Funzioni del ‘suono organizzato’ in due testi audiovisivi: “Barry Lyndon” e “Koyaanisqatsi”, «La Valle dell’Eden», 12-13/25-26 (2011), pp. 73-90

4. Alessandro Bratus, Popular music al cinema: la rappresentazione dell’artista rock sul grande schermo, in Worlds of Audio Vision (2010)
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=69&lang=it

Non-attending students will also read:
Kathryn Kalinak, Musica da film. Una breve introduzione, Torino, EDT, 2010

This course deals with current trends and issues on environment, sustainable development, cultural practices in public spaces and performing arts. With special focus on projects and works in progress in Rome.

Teatri Luoghi Città, a c. di R. Guarino, Edizioni Officina, 2008 (TO DOWNLOAD).
M. de Certeau, The invention of daily life.

The course will retrace the evolution of melodrama from its origins to the early 20th century, providing students with the main tools of linguistic analysis for this highly and rigidly formalized genre. The focus will be on the linguistic habits of opera librettos: on the metric-rhythmic, syntactic-textual, lexical and dramaturgical conventions. The history of the writing of the opera will also be retraced through the reading and linguistic commentary of portions of librettos produced from the 17th to the 20th century.

— Vittorio Coletti (2017), "Da Monteverdi a Puccini. Introduzione all'opera italiana". Nuova edizione riveduta e ampliata, Torino, Einaudi.
— Ilaria Bonomi, Edoardo Buroni (2017), "La lingua dell'opera lirica", Bologna, il Mulino.
— Photocopies made available by the teacher.

THE COURSE WILL ILLUSTRATE THE EVOLUTION OF THE MAIN GENRES AND FORMS OF ORCHESTRAL MUSIC FROM THE CLASSICAL TRADITION, WITH ATTENTION TO FORMAL AND AESTHETIC PRINCIPLES THAT ARE THE BASIS OF THE CATEGORIES OF ABSOLUTE MUSIC AND PROGRAM MUSIC. IN PARTICULAR, THE SYMPHONIE FANTASTIQUE BY H. BERLIOZ WILL BE ANALYZED.

The course examines the history of photography from its origins to today, considering photography as both a medium of artistic expression and as a social practice. We will analyze the Nineteenth-century origins of the medium, its ever more pervasive dissemination in all the spheres of everyday life, and the main technological metamorphoses that have shaped its development, up to the digital transition and the current employment in the online context. With the support of the writings of some of the foremost scholars of the medium (i.e. Roland Barthes and Susan Sontag, as well as Walter Benjamin, Georges Didi-Huberman and others), we will reflect on some of the most important photographic artists (from Talbot to Nadar, from Alfred Stieglitz to Henri Cartier-Bresson, from Berenice Abbott to Saul Leiter, from Bruce Davidson to Luigi Ghirri), on the elements that grant photography its expressive force, and on the kind of involvement these images may elicit in us as viewers.

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

Lorenzo Marmo, "Street Photography. La modernità, New York, il cinema" (Mimesis, 2023).
Collection of essays selected by the professor.

Study meetings and workshop meetings dedicated to specific areas of puppetry framed by scholars, artists and teachers both from the point of view of historiography and from that of current stage practice. The aim is to examine, also from a practical point of view, the "living" reality of puppetry.

ATTENDING STUDENTS
(to be considered attending students, the student cannot make more than 2 absences):

1) Alfonso Cipolla, Giovanni Moretti, “Storia dei burattini e delle marionette in Italia”, Corazzano, Titivillus, 2011

2) Mariano Dolci, Vito Minoia, “Il burattino sulla scena educativa”, Urbino, Edizioni Nuove Catarsi, 2020 (per informazioni sulla distribuzione del volume si rimanda al sito www.edizioninuovecatarsi.org)

3) Bruno Leone, “Le guarattelle. Vita di un burattinaio”, Napoli, Monitor, 2022 (per informazioni sulla distribuzione del volume si rimanda al sito https://napolimonitor.it/le-guarattelle/)

4) materiali da CONCORDARE CON LA DOCENTE nel corso delle lezioni (sarà possibile diversificare i temi di studio scegliendo tra gli argomenti affrontati a lezione). Scegliere uno dei nuclei tematici caricati nella sezione “file” del TEAM – cartella “Materiale del corso”

NON ATTENDING STUDENTS:
1) Alfonso Cipolla, “Giovanni Moretti, Storia dei burattini e delle marionette in Italia”, Corazzano, Titivillus, 2011

2) Mariano Dolci, Vito Minoia, “Il burattino sulla scena educativa”, Urbino, Edizioni Nuove Catarsi, 2020 (per informazioni sulla distribuzione del volume si rimanda al sito www.edizioninuovecatarsi.org)

3) Bruno Leone, “Le guarattelle. Vita di un burattinaio” Napoli, Monitor, 2022 (per informazioni sulla distribuzione del volume si rimanda al sito https://napolimonitor.it/le-guarattelle/)

4) Giorgio Agamben, “Pulcinella ovvero Divertimento per li regazzi”, Roma, ed. nottetempo, edizione aggiornata del 2016

5) video: BRUNO LEONE e GIORGIO AGAMBEN, Sulla filosofia di Pulcinella [https://youtu.be/ySrmOxieVVQ]

6) Anna Leone, Anime di legno, in Caterina Pasqualino (a c. di.), Macchine vive. Dalle marionette agli umanoidi, Palermo, Edizioni Museo Pasqualino, 2021, pp. 141-159 [file “Anna_LEONE - Anime di legno.pdf”, caricato sulla piattaforma TEAMS / sezione “File”]

7) BRUNO LEONE, La voce di Pulcinella, in «Mòin Mòin», Revista de Estudos sobre Teatro de Formas Animadas, n. 19 (2018), pp. 44-60 [da studiare pp. 46-56] [file “Leone La voce di Pulcinella.pdf”, caricato sulla piattaforma TEAMS / sezione “File” ]

WIT
Wit is a research workshop open to performers and students in choreographic and theoretical disciplines. The project stems from the need to extend the scenic language that emerged in the creation of JUMP! into a series of physical practices that hone sensitivity and compositional skills on stage.
The word WIT generally indicates wit, intelligence, the ability to think and react quickly and with humour to a stimulus. It synthesises the posture of the performer who is able to jump and respond instantly to an obstacle by integrating it into his or her own system and at the same time to 'jump' the thought/action a little further and take it to an unexpected place.
This workshop aims to advance the invention of a choreographic and scenic methodology centred on WIT, the ability and speed with which one responds to a challenge with humour.
 The guiding themes will be falling, jumping and suspension, investigated through the training of a body 'in disarray' and in continuous disequilibrium.
The workshop is partly intended for the transmission of scores written in different languages: minimal/abstract dance choreographies and concrete scores related to lightness and comedy. 
Participants will be asked to contribute to the creation of further scores through their own gestural heritage.
Finally, we will arrive at the elaboration of collective systemic rules, which allow different languages to coexist in the same space and reinforce each other rhythmically in which each performer will be responsible for the collective system.
Each day will open with a physical training deepened by exercises taken from some somatic techniques related to breathing (Alexander and Sensitive Dance in particular) to train the bodies in sensorial and perceptive attention. The work will then extend to simple choreographic practices that emphasise the systemic dimension of scenic movement; then, through the study and citation of works by visual artists, elements of composition that can be developed in an individual space reserved at the end of each day.

The workshop is organized as a mixed pedagogical setting that alternates stage practice with historical reflection, aiming to approach empirically the principles of Theatre Anthropology as identified by Eugenio Barba during the ISTA (International School of Theatre Anthropology) sessions and then make them conscious through some theoretical observations.
Will be provided some of the tools that lead to developing a certain quality of stage presence. Presence of the feet, of the voice and of the body intended as body-mind. The workshop will be shaped firstly along the guidelines of the training, specifically psychophysical training – the work on oneself based on exercises from eastern (especially those based on the technique by the Japanese master Tadashi Suzuki) and western stage crafts. Within this, focus will be given to the work on rhythm and rhythmic actions, that is actions generated in reaction to an external impulse, e.g. music; other key points will be the work on intentions, on the ‘body to body’ communication, and on the differences between choral voice and individual voice).
A second guideline of the workshop will be improvisation as in the meaning given by Stanislavsky, relating to the construction of a character.
Finally, the work will be completed along the third guideline of research on the score, intended as a construction of individual and of group materials based on the play Antigone. The score will also serve as process for approaching the concept of physical and vocal stage dialogue, the principle of action-reaction and a certain quality of listening, psychophysical as well.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
The transmission and learning of any technique mean learning a way to stand in life. A path. A way to breathe, to resist, to measure oneself against one’s limits to look for ways to overcome them.

Sofocle, Antigone (Einaudi editore, translation by Massimo Cacciari, ISBN 9788806188764)

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

Fiacco, Axel, Unscripted Formats. Teoria e pratica dei programmi televisivi globali. Castelvecchi, 2021

Prof. Daniela Ceselli Planning
The course aims to address some moments of cinematographic writing in a critical and constructive way, proceeding in theoretical and practical steps:
focus on a thematic idea (high / low concept);
drafting a synopsis of max 5 lines;
essential points of a subject;
character and character;
drafting a subject;
character construction (protagonist, antagonist, nearby characters);
character (character arc, obstacles, choices, goal, object of desire, insight);
step outline for a dramaturgical structure in three acts;
identification of turning points;
mid-point;
subplots / subplots ;
first and second draft of the treatment;
screenplay format and screenplay reference systems;
script analysis (character driven plot / action plot)
film viewing exempla
Purpose of the course: to familiarize with cinematographic writing from a theoretical and practical point of view, becoming familiar with the different phases (steps) of the process of developing a film script/project and understanding the specificities of writing for images/sounds in its diversity from the literary and theatrical one.

Bibliografia
Francis Vanoye, Sceneggiatura. Forme, dispositivi, modelli, Lindau, 1999
Daniela Ceselli, L’esistenza incerta del testo-sceneggiatura, Le Mani, 2012 ( in stampa)
Aspetti Pratici ( a scelta 1 testo)
Robert McKee, Story, Contenuti, struttura, stile, principi della sceneggiatura
per il cinema e per la fiction Tv, International Forum Edizioni, 2008
Syd Field, La sceneggiatura, Lupetti, 1991
Luca Aimeri, Manuale di sceneggiatura cinematografica, UTET , 2007
Italo Calvino, Lezioni americane, Mondadori, 1998
David Mamet, I tre usi del coltello, Minimum Fax, 2010
Raymond Carver, Il mestiere di scrivere, Einaudi, 1997
David Howard, Edward Mabley, Gli strumenti dello sceneggiatore, Dino Audino Editore, 1999

The course aims to answer the following questions:
how do you find a story?
how do you tell a story?
the role of the narrator
the point of view
what makes a story universal?

Io ero il Milanese di Mauro pescio e Lorenzo S ed. Mondadori

(we also recommend listening to the homonymous podcast on raiplaysound)

DIGITAL ARTS WORKSHOP

Enrollment is now open for the Digital Arts Workshop at this University.
The workshop is dedicated to digital art and collective creation, with a special focus on digital animation and video compositing.

Students will explore various techniques, working together to create a project titled "Future Scenarios," which questions the relationship between body and space through digital art and animation. The project will be showcased on a dedicated website, providing students with a platform to reflect on their work. The workshop focuses on enhancing your skills in digital arts and animation, with particular attention to video post-production and the use of Adobe software.

A passion for moving arts and video art is a key element for participating in this course, which aims to stimulate the creativity and artistic sensitivity of the participants. It is essential to have a laptop, as most of the course activities will require the use of video editing and animation software. Please ensure you have access to a laptop before the lessons begin, or have access to one from home to work on projects and discuss them in class.
Below, you will find all the necessary information to participate in the selection process for this workshop:

1. Enrollment Procedure
To enroll in the Digital Arts Workshop, please send an email to the address provided by the instructor, including the following details:
First name
Last name
Student ID number
Year of study
Credits earned

2. Selection Criteria
The main criterion for selecting participants for the workshop will be the number of university credits earned by the students. Preference will be given to students closer to graduation, as this workshop is designed to integrate and consolidate the knowledge acquired over the years of study.
In your enrollment email, please also include a brief description of your previous experience in video post-production and the use of software for editing and creating visual content. A portfolio is welcome for those who have one. This information will help me evaluate your interest in this specific field.

3. Enrollment Opening and Closing Dates
Enrollment for the Digital Arts Workshop will close approximately 10 days before the start of classes.

4. Maximum Number of Admitted Students
Applications from the first 25 students who meet the selection criteria described in point 2 will be accepted.
Looking forward to seeing your interest and participation in this course, I invite you to prepare your applications and submit them promptly to the provided email address.
Good luck to all the students participating in the selection process.

Best regards,
Gianluca Abbate
Instructor of Digital Arts Workshop
DAMS ROMA3
Email address: gianluca.abbate@uniroma3.it
Personal website: www.gianlucaabbate.com

The course does not require specific textbooks; we will explore compositing and video graphics techniques through a hands-on approach, using various software.

Employing the methodologies of contemporary visual studies, the course recomposes late-nineteenth and twentieth-century aesthetic theories and orientations with current reflections, focusing attention on the urban forms of artistic experimentation: from avant-garde cinema to the underground, from electronic and digital arts to the web, from the commercial to the music video, up to Vj'ing. The course wants to relate the changes of the urban habitat with those of the contemporary media landscape, investigating the hybridization territories between cinema, video, architecture and visual arts, considering the new perceptive and cognitive, aesthetic and technological forms that have emerged in the current audiovisual system.

G. Ravesi, La città delle immagini, Rubbettino, Soveria Mannelli 2011.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop “4 Appunti” of Via G. Chiabrera, 174.

FILMOGRAPHY
SINGLE-CHANNEL MOVIES AND VIDEOS
The Corridor (Norman McLaren, anni '50); Blinkity Blank (Norman McLaren, 1955); N.Y., N.Y. – A Day in New York (Francis Thompson, 1957); Bridges-Go-Round (Shirley Clarke, 1958); Broadway by Light (William Klein, 1958); New York Lightboard (Norman McLaren, 1961); Sulle scale mobili (Bruno Munari e Marcello Piccardo, 1964); Empire (Andy Warhol, 1964); Lights (Marie Menken, 1964-1966);Tre e basta (Luca Maria Patella, 1965); (Back and Forth, 1968) di Michael Snow (1968); Necrology (Roll Call Of The Dead) di Standish D. Lawder (1969); Serene Velocity (Ernie Gehr, 1970); Broadwalk (William Raban, 1971); Synchromy (Norman McLaren, 1971); Shift (Ernie Gehr, 1972-1974); Park Film (Chris Welsby, 1973); Eureka (Ernie Gehr,1974); Nuovo libro (Nowa ksiazka, Zbigniew Rybczynski, 1975); Analogies: Studies in the Movement of Time (Peter Rose, 1977); Mein Fenster (La mia finestra, Zbigniew Rybczynski, 1979); Media (Zbigniew Rybczynski, 1980); Tango (Zbigniew Rybczynski, 1980); Mistaken Memories of Mediaeval Manhattan (Brian Eno, 1981-1982); Koyaanisqatsi (Godfrey Reggio, 1983); Two Times in One Space (Ivan Ladislav Galeta, 1976-1984); Signal – Germany on the Air (Ernie Gehr, 1985); Steel Cathedrals (Yasuyuki Yamaguchi, David Sylvian, 1985); Le deuxième jour (Robert Cahen, 1988); Hong Kong Song (Robert Cahen, 1989); Appunti di viaggio su moda e città (Wim Wenders, 1989); Surveillance (Jem Cohen, 1995); X-Rays (Jem Cohen, 1995); Lost Book Found (Jem Cohen, 1996); Lucy et le fantôme de Marcushelmons (Valérie Pavia, 1996); Monocodes (Alexander Rutterford, 2000); Naqoyqatsi (Godfrey Reggio, 2002); Crossings (H.C. Gilje, 2002); Panorama_Roma (ZimmerFrei, 2004); Crossings (Marina Chernikova, 2004); Exchangeable Cities (Kentaro Taki, 2004); Site specific_Roma 04 (Olivo Barbieri, 2004); Site specific_Las Vegas 05 (Olivo Barbieri, 2005); Tournis (François Vogel, 2006); Reflect (spot Motorola, François Vogel, 2007); Fell It (spot ATP, Luis Nieto, 2007); Empire II (Amos Poe, 2007).

INSTALLATIONS, VIDEOINSTALLATIONS, INTERACTIVE ART
Intervento per lo Scalone, IX Triennale di Milano (Lucio Fontana, 1951); Italia 61 (Soffitto Padiglione, Torino, Lucio Fontana, 1961); Ambienti stroboscopici (Davide Boriani, 1965-1967); Live-taped Video Corridor (Bruce Nauman, 1970); Present Continuous Past (Dan Graham, 1974);
Video Piece for Showcase Windows In Shopping Arcade (Dan Graham, 1976);Video Piece for Two Glass Office Buildings (Dan Graham, 1976); Alteration to a Suburban House (Dan Graham, 1978);
Video Projection Outside Home (Dan Graham, 1978); Titled Arc (Federal Plaza, New York, Richard Serra, 1981);Vedute – quel tale non sta mai fermo (Studio Azzurro, 1985); The Legible City (Jeffrey Shaw, 1988-1991); The Stairs I – Geneva (Peter Greenaway, 1994); The Georgetown Loop (Ken Jacobs, 1996); Périphérie (Miguel Chevalier, 1998);On View (Antoni Muntadas, 1999); Megalopoli (Studio Azzurro, 2000); Naples (piazza Plebiscito, Napoli, Richard Serra, 2000); Exercising Nowheres (1), (2) e (3) (Hans op de Beeck, 2000); CECUT Projection (Omnimax Theater, Centro Cultural Tijuana, Mexico, Krzysztof Wodiczko, 2000); Macchina dell’arcobaleno (Alberto Biasi, 2000); Location (2) (Hans op de Beeck, 2001); WalkAround (Patrick Tuttofuoco , 2002); Metapolis (Miguel Chevalier, 2002); Y (Patrick Tuttofuoco, 2004); T-Mart (Hans op de Beeck, 2004); Location (5) (Hans op de Beeck, 2004); Celestial Subway Lines/ Salvaging Noise (Ken Jacobs, 2004); Revolving Landscape (Patrick Tuttofuoco, 2006); Sleepwalkers (Doug Aitken, 2007); Crossborders (Miguel Chevalier, 2007); Location (6) (Hans op de Beeck, 2008).

MUSIC VIDEO, VISUAL, VJ’ING
Se telefonando (spot Barilla, Piero Gherardi, 1966); Under pressure (music video Queen feat. David Bowie) di David Mallet e Andy Morahan (1982); Imagine (music video John Lennon) di Zbig Rybczynski (1987); La tour de Pisa (music video Jean François Cohen) di Michel Gondry (1992); Big Time Sensuality (music video Björk) di Stéphane Sednaoui (1992); Love is Strong (music video Rolling Stones) di David Fincher (1995); Children (music video Robert Miles) di Elizabeth Bailey (1996); Ray of Light (music video Madonna) di Jonas Âkerlund (1997); Non è mai stato subito (music video Biagio Antonacci) di Stefano Salvati (1998); Brown Paper Bag (music video Roni Size/Reprazent, 1998); The Child (music video dj Alex Gopher) di Antoine Bardou-Jacquet (1999); Strong Enough (music video Cher) di Nigel Dick (1999); Freestyler (music video Bomfunk MC’S, 2000); This strange effect (music video Hooverphonic, 2000); Analyse (music video Cranberries) di Keir McFarlane (2001); Star Guitar (music video The Chemical Brothers) di Michel Gondry (2002); Come Into My World (music video Kylie Minogue) di Michel Gondry (2002); Growing Up (music video Peter Gabriel) di François Vogel (2002); Sit Down. Stand Up (music video Radiohead) di Ed Holdsworth (2003); Woodsroads (Saul Saguatti , 2003-2004); Tension (visual Orbital) di Giles Thacker (2004); I Citizen The Loathsome (visual Plaid) di Bob Jaroc (2006); Colombo (music video Baustelle) di Stefano Poletti (2007); Presunti Accenni (music video IG) di Fabio Massimo Iaquone, Luca Attilii (2007); Se vuoi (music video IG) di Fabio Massimo Iaquone, Luca Attilii (2007); Transit City #2 RomAstratta (Saul Saguatti, 2008)

NET AND SOFTWARE ART
Blinkenlights (2001) Chaos Computer Club; Arcade (2002) Chaos Computer Club; Avatar's Portraits (2006) Eva e Franco Mattes; Stereoscope (2008) Chaos Computer Club.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139 together with a lecture note with the audiovisual materials of the lessons (for internal use only).

The course will start from two Chateaubriand’s texts and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

F.-R. Chateaubriand, Atala-René (traduzione Bruno Nacci), Garzanti 2006

A. Breton, Nadja (traduzione Giordano Falzoni), Torino, Einaudi, 2007

V. Magrelli, Profilo del dada, Roma, Laterza 2006

Anthropology of contemporaneity

Philosophy, Literature, and Pathology in David Foster Wallace

The Philosophy of Literature course aims to explore the transdisciplinary intersection between philosophy and literature from a theoretical perspective, highlighting concepts and themes that testify how philosophical thought relates to literature in different ways, not so much as an object of analysis, rather in terms of their interaction and proximity.
The course will examine the link between philosophical enquiry and its pathological declination in the fiction and non-fiction of the American writer David Foster Wallace, highlighting some conceptual knots - solipsism, addiction, boredom, self-deception - that reveal the fascinating yet problematic interweaving between philosophizing and writing.
The programme will focus on the following topics:
- Introduction to the relationship between philosophy and literature.
- Introduction to the life and work of D.F. Wallace
- Critical analysis of the concepts of solipsism, alienation, boredom in their problematic intertwining of philosophy, literature and pathology
- Exposition of the relationship between addiction, self-deception, and logical paradoxes

D.F. Wallace, The Empty Plenum: David Markson's Wittgenstein's Mistress, in Both Flesh and Not, Little, Brown and Co 2012.
D.F. Wallace, Good Old Neon, in Oblivion, Little Brown & Co 2004.
D.F. Wallace, The Planet Trillaphon as It Stands in Relation to the Bad Thing, in The Amherst Review, vol. XII (1984).
D.F. Wallace, The depressed person, in Brief Interviews with Hideous Men, Back Bay Books 2000.
D.F. Wallace, Suicide as a sort of present, in Brief Interviews with Hideous Men, Back Bay Books 2000.
G. Baggio, Filosofia e patologia in D.F. Wallace. Solipsismo, noia, alienazione… e altre cose (poco) divertenti, Rosenberg & Sellier 2022.
D. Laing, The Divided Self: An Existential Study in Sanity and Madness, Penguin 2005 (first part).
C. Scarlato, Attraverso il corpo. Filosofia e letteratura in David Foster Wallace, Mimesis 2020 (primo capitolo)
M. Piazza, La scrittura dei filosofi e la filosofia degli scrittori, in «Bollettino Filosofico», n. 210, 2013.

Anthropology of contemporaneity

Employing the methodologies of contemporary visual studies, the course recomposes late-nineteenth and twentieth-century aesthetic theories and orientations with current reflections, focusing attention on the urban forms of artistic experimentation: from avant-garde cinema to the underground, from electronic and digital arts to the web, from the commercial to the music video, up to Vj'ing. The course wants to relate the changes of the urban habitat with those of the contemporary media landscape, investigating the hybridization territories between cinema, video, architecture and visual arts, considering the new perceptive and cognitive, aesthetic and technological forms that have emerged in the current audiovisual system.

G. Ravesi, La città delle immagini, Rubbettino, Soveria Mannelli 2011.
A selection of texts edited by the teacher, available at the beginning of the course at the photocopy shop “4 Appunti” of Via G. Chiabrera, 174.

FILMOGRAPHY
SINGLE-CHANNEL MOVIES AND VIDEOS
The Corridor (Norman McLaren, anni '50); Blinkity Blank (Norman McLaren, 1955); N.Y., N.Y. – A Day in New York (Francis Thompson, 1957); Bridges-Go-Round (Shirley Clarke, 1958); Broadway by Light (William Klein, 1958); New York Lightboard (Norman McLaren, 1961); Sulle scale mobili (Bruno Munari e Marcello Piccardo, 1964); Empire (Andy Warhol, 1964); Lights (Marie Menken, 1964-1966);Tre e basta (Luca Maria Patella, 1965); (Back and Forth, 1968) di Michael Snow (1968); Necrology (Roll Call Of The Dead) di Standish D. Lawder (1969); Serene Velocity (Ernie Gehr, 1970); Broadwalk (William Raban, 1971); Synchromy (Norman McLaren, 1971); Shift (Ernie Gehr, 1972-1974); Park Film (Chris Welsby, 1973); Eureka (Ernie Gehr,1974); Nuovo libro (Nowa ksiazka, Zbigniew Rybczynski, 1975); Analogies: Studies in the Movement of Time (Peter Rose, 1977); Mein Fenster (La mia finestra, Zbigniew Rybczynski, 1979); Media (Zbigniew Rybczynski, 1980); Tango (Zbigniew Rybczynski, 1980); Mistaken Memories of Mediaeval Manhattan (Brian Eno, 1981-1982); Koyaanisqatsi (Godfrey Reggio, 1983); Two Times in One Space (Ivan Ladislav Galeta, 1976-1984); Signal – Germany on the Air (Ernie Gehr, 1985); Steel Cathedrals (Yasuyuki Yamaguchi, David Sylvian, 1985); Le deuxième jour (Robert Cahen, 1988); Hong Kong Song (Robert Cahen, 1989); Appunti di viaggio su moda e città (Wim Wenders, 1989); Surveillance (Jem Cohen, 1995); X-Rays (Jem Cohen, 1995); Lost Book Found (Jem Cohen, 1996); Lucy et le fantôme de Marcushelmons (Valérie Pavia, 1996); Monocodes (Alexander Rutterford, 2000); Naqoyqatsi (Godfrey Reggio, 2002); Crossings (H.C. Gilje, 2002); Panorama_Roma (ZimmerFrei, 2004); Crossings (Marina Chernikova, 2004); Exchangeable Cities (Kentaro Taki, 2004); Site specific_Roma 04 (Olivo Barbieri, 2004); Site specific_Las Vegas 05 (Olivo Barbieri, 2005); Tournis (François Vogel, 2006); Reflect (spot Motorola, François Vogel, 2007); Fell It (spot ATP, Luis Nieto, 2007); Empire II (Amos Poe, 2007).

INSTALLATIONS, VIDEOINSTALLATIONS, INTERACTIVE ART
Intervento per lo Scalone, IX Triennale di Milano (Lucio Fontana, 1951); Italia 61 (Soffitto Padiglione, Torino, Lucio Fontana, 1961); Ambienti stroboscopici (Davide Boriani, 1965-1967); Live-taped Video Corridor (Bruce Nauman, 1970); Present Continuous Past (Dan Graham, 1974);
Video Piece for Showcase Windows In Shopping Arcade (Dan Graham, 1976);Video Piece for Two Glass Office Buildings (Dan Graham, 1976); Alteration to a Suburban House (Dan Graham, 1978);
Video Projection Outside Home (Dan Graham, 1978); Titled Arc (Federal Plaza, New York, Richard Serra, 1981);Vedute – quel tale non sta mai fermo (Studio Azzurro, 1985); The Legible City (Jeffrey Shaw, 1988-1991); The Stairs I – Geneva (Peter Greenaway, 1994); The Georgetown Loop (Ken Jacobs, 1996); Périphérie (Miguel Chevalier, 1998);On View (Antoni Muntadas, 1999); Megalopoli (Studio Azzurro, 2000); Naples (piazza Plebiscito, Napoli, Richard Serra, 2000); Exercising Nowheres (1), (2) e (3) (Hans op de Beeck, 2000); CECUT Projection (Omnimax Theater, Centro Cultural Tijuana, Mexico, Krzysztof Wodiczko, 2000); Macchina dell’arcobaleno (Alberto Biasi, 2000); Location (2) (Hans op de Beeck, 2001); WalkAround (Patrick Tuttofuoco , 2002); Metapolis (Miguel Chevalier, 2002); Y (Patrick Tuttofuoco, 2004); T-Mart (Hans op de Beeck, 2004); Location (5) (Hans op de Beeck, 2004); Celestial Subway Lines/ Salvaging Noise (Ken Jacobs, 2004); Revolving Landscape (Patrick Tuttofuoco, 2006); Sleepwalkers (Doug Aitken, 2007); Crossborders (Miguel Chevalier, 2007); Location (6) (Hans op de Beeck, 2008).

MUSIC VIDEO, VISUAL, VJ’ING
Se telefonando (spot Barilla, Piero Gherardi, 1966); Under pressure (music video Queen feat. David Bowie) di David Mallet e Andy Morahan (1982); Imagine (music video John Lennon) di Zbig Rybczynski (1987); La tour de Pisa (music video Jean François Cohen) di Michel Gondry (1992); Big Time Sensuality (music video Björk) di Stéphane Sednaoui (1992); Love is Strong (music video Rolling Stones) di David Fincher (1995); Children (music video Robert Miles) di Elizabeth Bailey (1996); Ray of Light (music video Madonna) di Jonas Âkerlund (1997); Non è mai stato subito (music video Biagio Antonacci) di Stefano Salvati (1998); Brown Paper Bag (music video Roni Size/Reprazent, 1998); The Child (music video dj Alex Gopher) di Antoine Bardou-Jacquet (1999); Strong Enough (music video Cher) di Nigel Dick (1999); Freestyler (music video Bomfunk MC’S, 2000); This strange effect (music video Hooverphonic, 2000); Analyse (music video Cranberries) di Keir McFarlane (2001); Star Guitar (music video The Chemical Brothers) di Michel Gondry (2002); Come Into My World (music video Kylie Minogue) di Michel Gondry (2002); Growing Up (music video Peter Gabriel) di François Vogel (2002); Sit Down. Stand Up (music video Radiohead) di Ed Holdsworth (2003); Woodsroads (Saul Saguatti , 2003-2004); Tension (visual Orbital) di Giles Thacker (2004); I Citizen The Loathsome (visual Plaid) di Bob Jaroc (2006); Colombo (music video Baustelle) di Stefano Poletti (2007); Presunti Accenni (music video IG) di Fabio Massimo Iaquone, Luca Attilii (2007); Se vuoi (music video IG) di Fabio Massimo Iaquone, Luca Attilii (2007); Transit City #2 RomAstratta (Saul Saguatti, 2008)

NET AND SOFTWARE ART
Blinkenlights (2001) Chaos Computer Club; Arcade (2002) Chaos Computer Club; Avatar's Portraits (2006) Eva e Franco Mattes; Stereoscope (2008) Chaos Computer Club.
Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139 together with a lecture note with the audiovisual materials of the lessons (for internal use only).

In the first place, the course offers a theoretical and historical reflection on the role gained by the landscape in cinema, investigating its essential characteristics, its evolution over time and its gradual redefinition or resemantization. Then the class analyses cinema representations of landscape, identifying the most relevant forms and meanings it takes on within movies. Finally, the course proposes a taxonomy of landscape in Italian cinema of the 1950s and 1960s.

ATTENDING STUDENTS:
Bibliography:
– Sandro Bernardi, Il paesaggio nel cinema italiano, Venezia, Marsilio, 2002.
– Selection of essays edited by the teacher (pdf files available on teacher's Moodle platform)

Mandatory filmography:
Le ragazze di Piazza di Spagna (Luciano Emmer, 1952)
La lupa (Alberto Lattuada, 1953)
Giovani Mariti (Mauro Bologni, 1958)
Adua e le compagne (Antonio Pietrangeli, 1960)
Rocco e i suoi fratelli (Luchino Visconti, 1960)
Il posto (Ermanno Olmi, 1961)
Mamma Roma (Pier Paolo Pasolini, 1962)
Il deserto rosso (Michelangelo Antonioni, 1964)
Teorema (Pier Paolo Pasolini, 1968)

Recommended fimlography:
I vitelloni (Federico Fellini, 1953)
La notte brava (Mauro Bolognini, 1959)
Banditi a Orgosolo (Vittorio De Seta, 1961)
Il sorpasso (Dino Risi, 1962)
I basilischi (Lina Wertmüller, 1963)
I fidanzati (Ermanno Olmi, 1963)

NON-ATTENDING STUDENTS:
Bibliography:
– Sandro Bernardi, Il paesaggio nel cinema italiano, Venezia, Marsilio, 2002.
– Selection of essays edited by the teacher (pdf files available on teacher's Moodle platform)

Mandatory filmography:
Gente del Po (Michelangelo Antonioni, 1947)
Cronaca di un amore (Michelangelo Antonioni, 1950)
Il grido (Michelangelo Antonioni, 1957)
L'avventura (Michelangelo Antonioni, 1960)
La notte (Michelangelo Antonioni, 1961)
L'eclisse (Michelangelo Antonioni, 1962)
Il deserto rosso (Michelangelo Antonioni, 1964)
Blow-up (Michelangelo Antonioni, 1966)
Zabriskie-Point (Michelangelo Antonioni, 1970)
Professione: reporter (Michelangelo Antonioni, 1975)
Identificazione di una donna (Michelangelo Antonioni, 1982)

Philosophy, Literature, and Pathology in David Foster Wallace

The Philosophy of Literature course aims to explore the transdisciplinary intersection between philosophy and literature from a theoretical perspective, highlighting concepts and themes that testify how philosophical thought relates to literature in different ways, not so much as an object of analysis, rather in terms of their interaction and proximity.
The course will examine the link between philosophical enquiry and its pathological declination in the fiction and non-fiction of the American writer David Foster Wallace, highlighting some conceptual knots - solipsism, addiction, boredom, self-deception - that reveal the fascinating yet problematic interweaving between philosophizing and writing.
The programme will focus on the following topics:
- Introduction to the relationship between philosophy and literature.
- Introduction to the life and work of D.F. Wallace
- Critical analysis of the concepts of solipsism, alienation, boredom in their problematic intertwining of philosophy, literature and pathology
- Exposition of the relationship between addiction, self-deception, and logical paradoxes

D.F. Wallace, The Empty Plenum: David Markson's Wittgenstein's Mistress, in Both Flesh and Not, Little, Brown and Co 2012.
D.F. Wallace, Good Old Neon, in Oblivion, Little Brown & Co 2004.
D.F. Wallace, The Planet Trillaphon as It Stands in Relation to the Bad Thing, in The Amherst Review, vol. XII (1984).
D.F. Wallace, The depressed person, in Brief Interviews with Hideous Men, Back Bay Books 2000.
D.F. Wallace, Suicide as a sort of present, in Brief Interviews with Hideous Men, Back Bay Books 2000.
G. Baggio, Filosofia e patologia in D.F. Wallace. Solipsismo, noia, alienazione… e altre cose (poco) divertenti, Rosenberg & Sellier 2022.
D. Laing, The Divided Self: An Existential Study in Sanity and Madness, Penguin 2005 (first part).
C. Scarlato, Attraverso il corpo. Filosofia e letteratura in David Foster Wallace, Mimesis 2020 (primo capitolo)
M. Piazza, La scrittura dei filosofi e la filosofia degli scrittori, in «Bollettino Filosofico», n. 210, 2013.

The first part gives an overview on the concepts of gender and sexuality, with particular regard to the social constructivist approaches, queer studies and intersectional feminism perspective. The course aims to provide students with the methodological tools to analyse communication practices in various media (whether digital or not) from a gendered perspective. The second part is dedicated to lab activities and seminar with academic experts, students will be able to analyse different media materials and devices on the basis of what they have learnt during the first part of the course.

- D. Richardson (2015), Conceptualising Gender, in V. Robinson & D. Richardson (eds), Gender and Women’s Studies, Palgrave, pp. 3-22
- A.L. Tota, A. De Feo, L. Luchetti (2023), Inquinamento visuale. Manifesto contro il razzismo e il sessismo delle immagini, Mondadori, Milano
- S. Capecchi (2014), Methodological problems in gender and media research, Qual Quant, 48, pp. 837–844.

For students who have included Sociologia della pubblicità in their syllabus, the text to be studied in place of A. L. Tota, A. De Feo, L. Luchetti (2023), Inquinamento visuale. Manifesto contro il razzismo e il sessismo delle immagini, Mondadori, Milano, is as follows:
- Manolo Farci, Cosimo Marco Scarcelli (a cura di) (2022), Media digitali, genere e sessualità, Mondadori, Milano

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

Fiacco, Axel, Unscripted Formats. Teoria e pratica dei programmi televisivi globali. Castelvecchi, 2021

The course aims to answer the following questions:
how do you find a story?
how do you tell a story?
the role of the narrator
the point of view
what makes a story universal?

Io ero il Milanese di Mauro pescio e Lorenzo S ed. Mondadori

(we also recommend listening to the homonymous podcast on raiplaysound)

Prof. Daniela Ceselli Planning
The course aims to address some moments of cinematographic writing in a critical and constructive way, proceeding in theoretical and practical steps:
focus on a thematic idea (high / low concept);
drafting a synopsis of max 5 lines;
essential points of a subject;
character and character;
drafting a subject;
character construction (protagonist, antagonist, nearby characters);
character (character arc, obstacles, choices, goal, object of desire, insight);
step outline for a dramaturgical structure in three acts;
identification of turning points;
mid-point;
subplots / subplots ;
first and second draft of the treatment;
screenplay format and screenplay reference systems;
script analysis (character driven plot / action plot)
film viewing exempla
Purpose of the course: to familiarize with cinematographic writing from a theoretical and practical point of view, becoming familiar with the different phases (steps) of the process of developing a film script/project and understanding the specificities of writing for images/sounds in its diversity from the literary and theatrical one.

Bibliografia
Francis Vanoye, Sceneggiatura. Forme, dispositivi, modelli, Lindau, 1999
Daniela Ceselli, L’esistenza incerta del testo-sceneggiatura, Le Mani, 2012 ( in stampa)
Aspetti Pratici ( a scelta 1 testo)
Robert McKee, Story, Contenuti, struttura, stile, principi della sceneggiatura
per il cinema e per la fiction Tv, International Forum Edizioni, 2008
Syd Field, La sceneggiatura, Lupetti, 1991
Luca Aimeri, Manuale di sceneggiatura cinematografica, UTET , 2007
Italo Calvino, Lezioni americane, Mondadori, 1998
David Mamet, I tre usi del coltello, Minimum Fax, 2010
Raymond Carver, Il mestiere di scrivere, Einaudi, 1997
David Howard, Edward Mabley, Gli strumenti dello sceneggiatore, Dino Audino Editore, 1999

The course will start from two Chateaubriand’s texts and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

F.-R. Chateaubriand, Atala-René (traduzione Bruno Nacci), Garzanti 2006

A. Breton, Nadja (traduzione Giordano Falzoni), Torino, Einaudi, 2007

V. Magrelli, Profilo del dada, Roma, Laterza 2006

a) Pier Paolo Pasolini, La Divina Mimesis, Milano, Mondadori, 2019

b) Pier Paolo Pasolini, Petrolio, edited by Walter Siti, Milano, Garzanti, 2022

c) Marco Antonio Bazzocchi, Alfabeto Pasolini, Roma, Carocci, 2022

d) Vedere, Pasolini, edited by Andrea Cortellessa and Silvia De Laude, Vicenza, Ronzani, 2022 + Andrea Cortellessa, Una ragione in più per andare all’Inferno. Vedere, Pasolini, Roma, Treccani, 2025

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

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

There is not a course book.

The class includes a brief historical excursus of documentary films and meetings with documentary filmmakers and producers.

Afterwards there will be a selection of subjects proposed by the students based on a topic given by the the teacher and developed during classes.

The selected subjects will be realized in individual or group works.

Limits of duration and setting woulb eventually be communicated at the beginning of the classes.

Maximum number of class participants: 30 people.

Mandatory attendance. Will not be consented more than 2 non-justified absences.

Recommended books:

- Gianfranco Pannone. "È reale? Guida empatica del cinedocumentarista". Artdigiland, 2021.
- Lorenzo Hendel. "Il documentario narrativo. Come inventare una storia vera". Dino Audino. 2021.
- Simone Aleandri, Roberto Moliterni "Fare un documentario. Scrivere, girare e produrre cinema del reale". Dino Audino. 2020.

Recommended books:

- Gianfranco Pannone. "È reale? Guida empatica del cinedocumentarista". Artdigiland, 2021.
- Lorenzo Hendel. "Il documentario narrativo. Come inventare una storia vera". Dino Audino. 2021.
- Simone Aleandri, Roberto Moliterni "Fare un documentario. Scrivere, girare e produrre cinema del reale". Dino Audino. 2020.

a) Pier Paolo Pasolini, La Divina Mimesis, Milano, Mondadori, 2019

b) Pier Paolo Pasolini, Petrolio, edited by Walter Siti, Milano, Garzanti, 2022

c) Marco Antonio Bazzocchi, Alfabeto Pasolini, Roma, Carocci, 2022

d) Vedere, Pasolini, edited by Andrea Cortellessa and Silvia De Laude, Vicenza, Ronzani, 2022 + Andrea Cortellessa, Una ragione in più per andare all’Inferno. Vedere, Pasolini, Roma, Treccani, 2025

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

The course will retrace the evolution of melodrama from its origins to the early 20th century, providing students with the main tools of linguistic analysis for this highly and rigidly formalized genre. The focus will be on the linguistic habits of opera librettos: on the metric-rhythmic, syntactic-textual, lexical and dramaturgical conventions. The history of the writing of the opera will also be retraced through the reading and linguistic commentary of portions of librettos produced from the 17th to the 20th century.

— Vittorio Coletti (2017), "Da Monteverdi a Puccini. Introduzione all'opera italiana". Nuova edizione riveduta e ampliata, Torino, Einaudi.
— Ilaria Bonomi, Edoardo Buroni (2017), "La lingua dell'opera lirica", Bologna, il Mulino.
— Photocopies made available by the teacher.

The course will follow a chronological path through the history of documentary film through some keywords. The historiographical path structured in a chronological way will be articulated through some thematic articulations concerning above all the ethical questions (representability or irrapresentability of some aspects of the real) in relation to the starting reality and the social actor, the performative and authorial issue of documentary cinema and the question of spectator reception. The chosen filmography follows an exemplary path both from the historical and thematic point of view. The second part of the course will be monographic and will be dedicated to the representation of the wild nature in the cinema of the Italian and international documentary.
The course also includes meetings with professionals in the documentary industry in order to put students directly in contact with the professions of cinema.

Marco Bertozzi-Ivelise Perniola (a cura di). Storia del cinema documentario, Roma, Carocci, 2025 (in corso di pubblicazione).
Dispense a cura della docente.

Dispense a cura della docente caricate su Moodle all’inizio del corso.

FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.

Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Luis Bunûel, Las Hurdes (1936)
Joris Ivens, Terra di Spagna (1937)
Luciano Emmer, Racconto da un affresco (1938)
McAllister-Jannings, Listen to Britain (1942)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
id. Parabola d'oro (1955)
id. Un giorno in Barbagia (1958)
Cecilia Mangini, Stendalì (1959)
id. Essere donne (1965)
Gian Franco Mingozzi, La Taranta (1962)
id. Li mali mestieri (1963)
Pier Paolo Pasolini, Appunti per un'Orestiade Africana (1970)
Chris Marker, Sans Soleil (1982)
Pietro Marcello, La bocca del lupo (2009)
Alina Marazzi, Un'ora sola ti vorrei (2012)

"California Dreamin'"

Everybody's Autobiography, Gertrude Stein, 1937

The Last Tycoon, Francis Scott Fitzgerald, 1941

"A Journey into the Mind of Watts", Thomas Pynchon, 1966

Slouching towards Bethlem, Joan Didion, 1969

Kindred, Octavia Butler, 1979

The Beautiful Struggle, Ta-Nehisi Coates, 2008

Everybody's Autobiography, Gertrude Stein, 1937

The Last Tycoon, Francis Scott Fitzgerald, 1941

Slouching towards Bethlem, Joan Didion, 1969

Kindred, Octavia Butler, 1979

The Beautiful Struggle, Ta-Nehisi Coates, 2008

The course aims to develop methodological competences in the communication and social sciences. The first part of the course will examine research design in the social sciences, differentiating between qualitative and quantitative methods.
The second part of the course will outline the main approaches and strategies of research in the communication sciences, with a focus on qualitative and creative methods for social research.

FIRST PART
- Wendy Griswold (2009), Un framework metodologico per lo studio della cultura, in M. Santoro, R. Sassatellin(a cura di), Studiare la cultura. Nuove prospettive sociologiche, Il Mulino, Bologna, pp. 253-285


SECOND PART
- Mario Cardano, Luigi Gariglio (2024), Metodi qualitativi. Pratiche di ricerca in presenza, a distanza e ibride, Carocci, Roma
- Alberta Giorgi, Micol Pizzolati, Elena Vacchelli (2021), Metodi creativi per la ricerca sociale. Contesto, pratiche, strumenti, il Mulino, Bologna (Up to and including Chapter 7).

The course aims at:
- providing the basics of sound and light physics;
- providing a historical and theoretical panorama on the nature of light, from the ancient world to modern theories and applications;
- providing a historical and theoretical panorama on the nature of sound, from the ancient world to modern theories and applications;
- illustrating the phenomena connected with generation and propagation of sound waves, with particular reference to the voice and musical instruments;
- illustrating the phenomena connected with generation and propagation of light waves, with particular reference to artificial light;
- understanding the perceptual processes of sound and light in relation to the physical aspects and the nature of the human ear and eye;
- illustrating the fundamental mechanisms which are at the base of sound and light technical applications in the entertainment field.

Material provided by the lecturer.

The course aims to pinpoint and analyze the main tendencies of the contemporary audiovisual fiction narrative, addressing hegemonic imaginaries as well as the subversive trajectories delineated by film and television series in Europe and the United States.
The course addresses, in particular: postclassic/postmodernism in 1980s and 1990s; audiovisual aesthetics, subjectivity and gender identity; postcolonialism/globalization; complex television, serial narratives, and transmedia storytelling.
The final syllabus and program will be published at the beginning of the course.

Ilaria A. De Pascalis, a cura di, "Kathryn Bigelow", Marsilio, 2023
Antologia di saggi a cura della docente.
The final program, with the full bibliography and filmography, will be published at the beginning of the course.

The course will follow a chronological path through the history of documentary film through some keywords. The historiographical path structured in a chronological way will be articulated through some thematic articulations concerning above all the ethical questions (representability or irrapresentability of some aspects of the real) in relation to the starting reality and the social actor, the performative and authorial issue of documentary cinema and the question of spectator reception. The chosen filmography follows an exemplary path both from the historical and thematic point of view. The second part of the course will be monographic and will be dedicated to the representation of the wild nature in the cinema of the Italian and international documentary.
The course also includes meetings with professionals in the documentary industry in order to put students directly in contact with the professions of cinema.

Marco Bertozzi-Ivelise Perniola (a cura di). Storia del cinema documentario, Roma, Carocci, 2025 (in corso di pubblicazione).
Dispense a cura della docente.

Dispense a cura della docente caricate su Moodle all’inizio del corso.

FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.

Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Luis Bunûel, Las Hurdes (1936)
Joris Ivens, Terra di Spagna (1937)
Luciano Emmer, Racconto da un affresco (1938)
McAllister-Jannings, Listen to Britain (1942)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
id. Parabola d'oro (1955)
id. Un giorno in Barbagia (1958)
Cecilia Mangini, Stendalì (1959)
id. Essere donne (1965)
Gian Franco Mingozzi, La Taranta (1962)
id. Li mali mestieri (1963)
Pier Paolo Pasolini, Appunti per un'Orestiade Africana (1970)
Chris Marker, Sans Soleil (1982)
Pietro Marcello, La bocca del lupo (2009)
Alina Marazzi, Un'ora sola ti vorrei (2012)

The course aims at:
- providing the basics of sound and light physics;
- providing a historical and theoretical panorama on the nature of light, from the ancient world to modern theories and applications;
- providing a historical and theoretical panorama on the nature of sound, from the ancient world to modern theories and applications;
- illustrating the phenomena connected with generation and propagation of sound waves, with particular reference to the voice and musical instruments;
- illustrating the phenomena connected with generation and propagation of light waves, with particular reference to artificial light;
- understanding the perceptual processes of sound and light in relation to the physical aspects and the nature of the human ear and eye;
- illustrating the fundamental mechanisms which are at the base of sound and light technical applications in the entertainment field.

Material provided by the lecturer.

The first part gives an overview on the concepts of gender and sexuality, with particular regard to the social constructivist approaches, queer studies and intersectional feminism perspective. The course aims to provide students with the methodological tools to analyse communication practices in various media (whether digital or not) from a gendered perspective. The second part is dedicated to lab activities and seminar with academic experts, students will be able to analyse different media materials and devices on the basis of what they have learnt during the first part of the course.

- D. Richardson (2015), Conceptualising Gender, in V. Robinson & D. Richardson (eds), Gender and Women’s Studies, Palgrave, pp. 3-22
- A.L. Tota, A. De Feo, L. Luchetti (2023), Inquinamento visuale. Manifesto contro il razzismo e il sessismo delle immagini, Mondadori, Milano
- S. Capecchi (2014), Methodological problems in gender and media research, Qual Quant, 48, pp. 837–844.

For students who have included Sociologia della pubblicità in their syllabus, the text to be studied in place of A. L. Tota, A. De Feo, L. Luchetti (2023), Inquinamento visuale. Manifesto contro il razzismo e il sessismo delle immagini, Mondadori, Milano, is as follows:
- Manolo Farci, Cosimo Marco Scarcelli (a cura di) (2022), Media digitali, genere e sessualità, Mondadori, Milano

The class includes a brief historical excursus of documentary films and meetings with documentary filmmakers and producers.

Afterwards there will be a selection of subjects proposed by the students based on a topic given by the the teacher and developed during classes.

The selected subjects will be realized in individual or group works.

Limits of duration and setting woulb eventually be communicated at the beginning of the classes.

Maximum number of class participants: 30 people.

Mandatory attendance. Will not be consented more than 2 non-justified absences.

Recommended books:

- Gianfranco Pannone. "È reale? Guida empatica del cinedocumentarista". Artdigiland, 2021.
- Lorenzo Hendel. "Il documentario narrativo. Come inventare una storia vera". Dino Audino. 2021.
- Simone Aleandri, Roberto Moliterni "Fare un documentario. Scrivere, girare e produrre cinema del reale". Dino Audino. 2020.

Recommended books:

- Gianfranco Pannone. "È reale? Guida empatica del cinedocumentarista". Artdigiland, 2021.
- Lorenzo Hendel. "Il documentario narrativo. Come inventare una storia vera". Dino Audino. 2021.
- Simone Aleandri, Roberto Moliterni "Fare un documentario. Scrivere, girare e produrre cinema del reale". Dino Audino. 2020.

Since teen-agers appeared after World War II, youth cultures have shown their independence from the adult world in a contrast that only in recent times seems to be weakening. With the advent of cultural studies, started in Great Britain in the ‘60s, sociologists and popular music scholars have been discussing such trends for their strong connotation in terms of style and music.
The course aims to provide students with the theoretical and methodological tools to analyse sense and meaning of youth cultures from their birth in the ‘50s until our days, being as they were (and are) in a conflicting entanglement with the mass media that amplify them and make them popular.
Beginning with the American and British scene, we will analyse how youth cultures manifested themselves, focusing in particular on the kinds of music they adopted. Attention will be given particularly to the Italian scene, deeply and for long marked by alternative music trends which, from the ‘60s onwards, found in singer-songwriters (“cantautori”), in rock and in rap music, their favoured way of communication.

Chambers Iain, Ritmi urbani, Meltemi, Sesto San Giovanni 2018.
Alemanni Cesare, Rap, Minimum Fax, Roma 2019.

The course aims to develop methodological competences in the communication and social sciences. The first part of the course will examine research design in the social sciences, differentiating between qualitative and quantitative methods.
The second part of the course will outline the main approaches and strategies of research in the communication sciences, with a focus on qualitative and creative methods for social research.

FIRST PART
- Wendy Griswold (2009), Un framework metodologico per lo studio della cultura, in M. Santoro, R. Sassatellin(a cura di), Studiare la cultura. Nuove prospettive sociologiche, Il Mulino, Bologna, pp. 253-285


SECOND PART
- Mario Cardano, Luigi Gariglio (2024), Metodi qualitativi. Pratiche di ricerca in presenza, a distanza e ibride, Carocci, Roma
- Alberta Giorgi, Micol Pizzolati, Elena Vacchelli (2021), Metodi creativi per la ricerca sociale. Contesto, pratiche, strumenti, il Mulino, Bologna (Up to and including Chapter 7).

The course addresses the relationship between music and image by offering an overview of some fundamental aspects of musical iconography and the characteristics that this relationship assumes in audiovisual context, considering, both historically and analytically, film music. An investigation path will be outlined that goes from one side to the other, following the topic of the musician's image, as it is reflected, constructed, staged through the resources of the graphic and pictorial arts, then through those of audiovisual narration, from the portrait of the musician of the 17th-18th centuries to the musical biographical film.

1. Federico Maria Sardelli, Il volto di Vivaldi, Palermo, Sellerio, 2021, pp. 13-176, 242-266

2. Sergio Miceli, Musica per film. Storia, estetica – analisi, tipologie, Milano-Lucca, Ricordi-LIM, 2009, pp. 631-682 e 819-832

3. Gianmario Borio, Funzioni del ‘suono organizzato’ in due testi audiovisivi: “Barry Lyndon” e “Koyaanisqatsi”, «La Valle dell’Eden», 12-13/25-26 (2011), pp. 73-90

4. Alessandro Bratus, Popular music al cinema: la rappresentazione dell’artista rock sul grande schermo, in Worlds of Audio Vision (2010)
http://www-5.unipv.it/wav/index.php?option=com_content&view=article&id=69&lang=it

Non-attending students will also read:
Kathryn Kalinak, Musica da film. Una breve introduzione, Torino, EDT, 2010

The course will retrace the evolution of melodrama from its origins to the early 20th century, providing students with the main tools of linguistic analysis for this highly and rigidly formalized genre. The focus will be on the linguistic habits of opera librettos: on the metric-rhythmic, syntactic-textual, lexical and dramaturgical conventions. The history of the writing of the opera will also be retraced through the reading and linguistic commentary of portions of librettos produced from the 17th to the 20th century.

— Vittorio Coletti (2017), "Da Monteverdi a Puccini. Introduzione all'opera italiana". Nuova edizione riveduta e ampliata, Torino, Einaudi.
— Ilaria Bonomi, Edoardo Buroni (2017), "La lingua dell'opera lirica", Bologna, il Mulino.
— Photocopies made available by the teacher.

Systematic path:
• Definitions and general framework
• The musical notation
• The musical instruments of today and the past
Focus:
• From harpsichord to piano: technological and technical evolution; composers and performers
Historical route:
• Between Renaissance and Baroque: sacred and secular vocal music; debut of instrumental music
• The seventeenth century: the new vocal music; locations and instrumentals; development of musical instruments
• Between the seventeenth and eighteenth centuries: the development of the orchestra, organic and executive practices; church music and chamber music
• The Full Eighteenth Century: evolution of instrumentals and techniques; main European musical centers (Paris, London, Vienna) and concert institutions; the musical professions
• 19th century: concert activities; virtuosos and the new concept of performance; from composer-performer to performer; Salonmusik and amateur performance
• The twentieth century: the repertoire of "classics" and concert life; new music and new modes of performance; sound technologies and performance

1. NICHOLAS COOK, Musica. Una breve introduzione, Torino, EDT, 2005. Capitoli 4 e 5.
2. ENRICO FUBINI, Esecuzione e interpretazione: la vita dell’opera musicale attraverso il tempo, «Revista Portuguesa de Filosofia», LXXVIII, 2018, pp. 1527-1534.
3. Musica e società, 1: Dall’Alto Medioevo al 1640, a cura di Paolo Fabbri e Maria Chiara Bertieri, Lucca, LIM, 2019. Capitolo IV, paragrafi 4.3 (Le cappelle musicali) e 4.4 (La musica a corte); capitolo V, 5.2 (La musica strumentale) e 5.5 (Il Concilio di Trento e la musica liturgica cattolica); capitolo VII, 7.5 (Nuove tecniche, tempi nuovi – Monteverdi), 7.6 (La musica liturgica cattolica) e 7.7 (La produzione per tastiera).
4. Musica e società, 2: Dal 1640 al 1830, a cura di Paolo Fabbri, Alessandro Roccatagliati e Paolo Russo, Lucca, LIM, 2019. Capitolo II, 2.3 (La musica in chiesa); capitolo III, 3.7 (Vivaldi e il concerto solistico), 3.8 (Il mercato editoriale e i dilettanti) e 3.9 (Bach e il mondo tedesco).
5. Musica e società, 3: dal 1830 al 2000, a cura di Virgilio Bernardoni e Paolo Fabbri, Lucca, LIM, 2016. Parte 1. Capitolo VI, 6.6 (L’invenzione del disco e la nascita dell’industria fonografica). Parte 2. Capitolo X, intero (Diffusione musicale, media e ascolto); capitolo XII, 12.4 (Opera aperta e aleatorietà); capitolo XIV, intero (Le nuove frontiere del suono).
6. MARCO MANGANI, Ascoltare la scrittura. L’invenzione della notazione musicale [Scoprire la musica, n. I/1], Lucca, LIM, 2023, € 12
7. DONATELLA MELINI, Vedere i suoni. Uno sguardo sugli strumenti musicali [Scoprire la musica, n. II/1], Lucca, LIM, 2024, € 12
8. MARIA TERESA ARFINI – PAOLO RUSSO, Forme in movimento. La musica strumentale tra Sette e Ottocento, [Scoprire la musica, n. IV/3], Lucca, LIM, 2024, € 15
Texts and further handouts will be made available, together with their list, on the Moodle platform.

The course examines the history of photography from its origins to today, considering photography as both a medium of artistic expression and as a social practice. We will analyze the Nineteenth-century origins of the medium, its ever more pervasive dissemination in all the spheres of everyday life, and the main technological metamorphoses that have shaped its development, up to the digital transition and the current employment in the online context. With the support of the writings of some of the foremost scholars of the medium (i.e. Roland Barthes and Susan Sontag, as well as Walter Benjamin, Georges Didi-Huberman and others), we will reflect on some of the most important photographic artists (from Talbot to Nadar, from Alfred Stieglitz to Henri Cartier-Bresson, from Berenice Abbott to Saul Leiter, from Bruce Davidson to Luigi Ghirri), on the elements that grant photography its expressive force, and on the kind of involvement these images may elicit in us as viewers.

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

Lorenzo Marmo, "Street Photography. La modernità, New York, il cinema" (Mimesis, 2023).
Collection of essays selected by the professor.

The course will be focused on three remarkable experiences of the history and practices of the actor:

1 – The actresses and the actors of the Commedia dell’Arte
2 – Stanislavsky and his research on the actor’s pedagogy
3 – Theatre Anthropology and the principles of scenic body behaviour

- Ferdinando Taviani, Mirella Schino, Il segreto della Commedia dell’Arte. La memoria delle compagnie italiane del XVI, XVII, XVIII secolo, Firenze, La casa Usher, 2008.

- Konstantin S. Stanislavskij, Il lavoro dell’attore su se stesso, Roma-Bari, Laterza, 1982.

- Eugenio Barba, La canoa di carta. Trattato di antropologia teatrale, Bologna, Il Mulino, 2004.


FOR NON-ATTENDING STUDENTS:

- Claudio Meldolesi, Pensare l’attore, Roma, Bulzoni, 2010

COUNTER-HISTORIES OF A PLURAL ITALY. TRANSCULTURAL AND POST/COLONIAL ROME #1 – FROM SILENT CINEMA TO THE EIGHTIES
In Rome, street names and monuments tell us about an eternal city where for a long time practices and dreams of imperial power were nurtured, in the classical era as in the Fascist period. Along with narratives and omissions, films and tv series may help us to retrace a long history of transcultural cohabitation, dealing with millenary trades in and beyond the Mediterranean Sea that preceded the process of nation building, the dark page of liberal and fascist colonialism and its traces left in the territory and in the imagination. All this, seen through the eyes of those who live, work and make movies in Rome; of those leaving Rome, keeping a cultural identity that can be recognized; of those who keep on coming to Rome, enriching it with their past and their future. Our journey starts from the silent cinema and halts just before 1989, where the perception of a turning point in Italian history, coming with the new mobilities from the South and the East, changed the political and symbolic agendas.

A reader of articles on postcolonial theory and film critics, selected by the professor.

The course aims to provide students with theoretical and methodological tools to focus on popular music since its inception, as part of the industrial revolution, to our days. Starting from the very same definition of "popular music", the meaning of the expression itself will be clarified, especially in relation to the Italian use of the word "popolare" and to the other Italian terms utilized for music of this kind ("folk", "traditional" and the likes). Next to that, the context which gave birth to popular music will be explored (urbanization, technological development, the spread of mass media) to follow its history along the whole Twentieth century and the first decades of the new century in relation to the folk, jazz and classical tradition.
Given to the multidimensional nature of the object, the course adopts a multidisciplinary perspective, which necessarily needs not only musicological and ethnomusicological resources but also sociological and anthropological ones.
The programme, by means of audio and video materials (and with maps, records and music scores), will handle the different genres which make up popular music, both in the West and in the rest of the world, and with the environment in which they took place (theatres, café-chantants, cabarets). The relationship between oral and written music, the advent of recording, the birth of the microphone, the electrification and the amplification of musical instruments, the creative use of the recording studio, the relationship between music and noise will also be discussed: namely, all that makes popular music what it is today.
Lots of space will be given to the break-in of African American music genres, with their peculiar features and their lexicon (swing, groove, riff etc.) for the strong influence they had on rock music (a genre which will be analyzed in detail even in its spectacular component). Last but not least, we will be discussing the folk music revival, in its national variants, and with its evolution in what was called "world music".
Italian song will also be dealt with, including the "fracture" caused by the "cantautori" ("singer-songwriters").

Basciano Fabrizio, Manuale di storia della popular music e del jazz, Volonté & Co. 2024.
(in alternativa, Fabbri Franco, Storia della popular music, Utet, Torino 2016).
Mignogna Dino, La musica possibile, Arcana, Roma 2022.

INFORMATION AND JOURNALISM SYSTEMS 2024/25
Monographic part: The talk show: the staging of public debate: formats, rules, protagonists, professions.

The course in Information Systems of Journalism year 24/25 is organized in two parts.
The institutional part addresses the changed relationship between journalism and society and the transformations that have involved the Information System within the new digital ecosystem, focusing both on the regulatory, productive and organizational dimensions of online journalism, with, in particular, the emergence of new non-institutional actors, and on the observation of more sociological variables such as supply and consumption models, journalistic values ​​and the characteristics of the new formats of digital journalism (sites, podcasts, blogs). In this part, the theme of the complex balance between information, independence, pluralism and the need for regulation to guarantee its authoritativeness and reliability will also be addressed.
The monographic part analyses a particular journalistic/television genre: the political talk show. After a part devoted to retracing in a historical key, the diffusion and evolution of the genre in Italy in close relation to the evolution of the political and media scene and to the analysis of its structural and constitutive components, the quantity, quality and trends of the talk show in the current television season will be analyzed.
The monographic part includes:
- meetings with protagonists and professional figures involved in the various stages of the production of a talk show: journalist, set designer, author
- viewing of archive materials
- carrying out research and papers that can tax part of the exam.

The syllabus will be communicated at the beginning of the course

Basic language of cinema, theory and secret of images, writing and perception of images, screenwriting training, genre and paths of cinema, editing and mirage, longline, synopsis and film story.

Qu'est ce-que le cinéma par A.Bazin
David Lynch interviews
Wyes wide open by F.Raphael
A supposedly fun thing that I'll never do again by David Foster Wallace
L'image mouvement et l'image temp par G.Deleuze

The course intends to analyse the relationship between the movement of the body and the movement of images, exploring the dialogue between the language of dance and that of video in the range of relationships from documentation to artistic creation, from dance in film to images as a dramaturgical element. In the chronological span from the first decades of the 20th century to contemporary experiences, the module is based on the vision, analysis, commentary and study of some cases of interrelation between choreographic language and visual language. In particular, the theme of action in front of the camera will be examinated, exploring the differences between photography, cinema and video through some examples of choreographers, film-makers, video-artists.

- Alessandro Amaducci, Screendance. Sperimentazioni visive intorno al corpo tra film, video e computer grafica, Kaplan, Torino 2020
- Danza, schermi, visori. Contaminazioni coreografiche nella scena italiana, a cura
di Elena Cervellati e Silvia Garzarella, Dino Audino, Roma 2024
- Lecture notes and materials by the teacher including the complete annotated videography

The course will start from two Chateaubriand’s texts and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

F.-R. Chateaubriand, Atala-René (traduzione Bruno Nacci), Garzanti 2006

A. Breton, Nadja (traduzione Giordano Falzoni), Torino, Einaudi, 2007

V. Magrelli, Profilo del dada, Roma, Laterza 2006

In consideration of the nature of the workshop, no reference texts are provided.

The course will start from two Chateaubriand’s texts and will then focus on how Romanticism influenced all the Avantgardes, especially Dadaism. We will take in consideration theoretical and aesthetic problems of the movement, with particular regard to Duchamp’s ready made art works. Finally we will examine Nadja, a masterpiece of French literature by Andre Breton.

F.-R. Chateaubriand, Atala-René (traduzione Bruno Nacci), Garzanti 2006

A. Breton, Nadja (traduzione Giordano Falzoni), Torino, Einaudi, 2007

V. Magrelli, Profilo del dada, Roma, Laterza 2006

The course will retrace the evolution of melodrama from its origins to the early 20th century, providing students with the main tools of linguistic analysis for this highly and rigidly formalized genre. The focus will be on the linguistic habits of opera librettos: on the metric-rhythmic, syntactic-textual, lexical and dramaturgical conventions. The history of the writing of the opera will also be retraced through the reading and linguistic commentary of portions of librettos produced from the 17th to the 20th century.

— Vittorio Coletti (2017), "Da Monteverdi a Puccini. Introduzione all'opera italiana". Nuova edizione riveduta e ampliata, Torino, Einaudi.
— Ilaria Bonomi, Edoardo Buroni (2017), "La lingua dell'opera lirica", Bologna, il Mulino.
— Photocopies made available by the teacher.

Students will be involved in a co-constructed learning pathway oriented towards social justice in education.
Starting from outlining the epistemological foundations of Pedagogy (the specific object of study and intervention and the pathway to becoming a practical and theoretical knowledge that thinks and envisages education as a "Pedagogical Science" and "Borderline Science"), the educational and training potential of the performing arts, in particular theatre, will be discussed.
From the perspective of a critical and committed pedagogy, the themes of the pedagogy of the oppressed and the theatre of the oppressed will be explored in depth, including through practical and workshop experiences;
the complex, ecological and decolonial perspective and, specifically, the relations between colonisation-decolonisation and new migratory phenomena will be taken into account; the educational dimensions in the contexts of marginality and exclusion will be discussed; cultural deprivation, migratory trauma and educational poverty will be reflected upon; methodological hypotheses for effective communication in education will be co-constructed.

Catarci M, (2016), La pedagogia della liberazione di Paulo Freire. Educazione, intercultura e cambiamento sociale, Milano: Franco Angeli.

Gigli A., Tolomelli A., Zanchettin A.,(2008), Il Teatro dell'Oppresso in educazione, Roma: Carocci

Bianchi L., (2023) La pedagogia implicita di Alexander Langer, Brescia: Morcelliana.

Bianchi L., (2024) bell hooks. Pedagogia impegnata e decoloniale, Brescia: Morcelliana.

The course will retrace the evolution of melodrama from its origins to the early 20th century, providing students with the main tools of linguistic analysis for this highly and rigidly formalized genre. The focus will be on the linguistic habits of opera librettos: on the metric-rhythmic, syntactic-textual, lexical and dramaturgical conventions. The history of the writing of the opera will also be retraced through the reading and linguistic commentary of portions of librettos produced from the 17th to the 20th century.

— Vittorio Coletti (2017), "Da Monteverdi a Puccini. Introduzione all'opera italiana". Nuova edizione riveduta e ampliata, Torino, Einaudi.
— Ilaria Bonomi, Edoardo Buroni (2017), "La lingua dell'opera lirica", Bologna, il Mulino.
— Photocopies made available by the teacher.

Outline of sound in audiovisual media, with reference to historical, analytical, technological and productive issues.
The soundtrack production (for film, TV, advertisement, ecc.), its phases and techniques (design, recording, postproduction, editing, mixing, re-recording).
The issue of sonic style and practices thereof, specifically in the context of circulation and use of audio and audiovisual media in the World Wide Web.
Students are required to make a creative work (also through exercises in classroom), applying basic notions in order to choose how to record, obtain, insert, create, edit and mix sounds in a track for video.
Much attention is given to how sound can contribute to the formal and narrative structure of audiovisual products and to meaning.

OPTIONAL RECOMMENDED BOOKS

Valerio Sbravatti, "La cognizione dello spazio sonoro filmico. Un approccio neurofilmologico", Bulzoni, Roma 2019.

Simone Corelli, Stefano Mainetti, Gilberto Martinelli, "Dialoghi, Musica, Effetti: il Suono nell'Audiovisivo", Lambda, Roma 2021.