History and criticism of the cinema

A.Y. 2019/2020
9
Max ECTS
60
Overall hours
SSD
L-ART/06
Language
Italian
Learning objectives
The aim of the course is to introduce the history of cinema from early cinema to contemporary cinema. The main sections of the history of cinema will be addressed: 1) Early cinema; 2) The establishing of the Institutional Representation Mode ; 3) The golden age of Italian silent cinema; 4) The avant-gardes, German expressionism, French impressionism, and the Soviet school; 5) The advent of sound and classic American cinema; 6) Italian Neorealism; 7) Nouvelle Vague; 8) Author cinema; 9) The New Hollywood.
Therefore a thematic and methodological study will be proposed in line with the basic training objectives of the CdS
Expected learning outcomes
The aim of the course is to bring students to acquire the technical-sectorial lexicon of the discipline. Students will also learn the main points of the history of cinema and some of the most relevant historiographical problems of the contemporary debate. At the end of the course the student will be able to view a film with a critical attitude, to place it historically on the basis of the main stylistic-formal aspects, and connect it to its historical-cultural context.
Course syllabus and organization

(A-D)

Responsible
Lesson period
First semester
Course syllabus
In the first part of the course (units A and B) the main sections of the history of cinema will be addressed: 1) Early cinema; 2) Establishing of the Institutional Representation Mode (with the study of the Griffith case); 3) The golden age of Italian silent cinema; 4) The avant-gardes, German expressionism, French impressionism, the Soviet school; 5) The advent of sound and classic American cinema; 6) Italian Neorealism; 7) Nouvelle Vague; 8) Author cinema; 9) The New Hollywood.
The second part of the course (unit C) will be focused on Sergio Leone's cinema with a particular reference to the cinematographic genres from the peplum to the western and the gangster movie
Prerequisites for admission
Knowledge of contemporary history.
Teaching methods
The topics of the course will be addressed through lectures and with the use of slides and audio-video materials analyzed in the classroom. Slides are available on the website htttp//ariel.unimi.it
Attendance, although not mandatory, is strongly recommended. Students who attend at least two thirds of the lessons are considered attending students.
Bibliography
Program for attending students
Unit A
Texts to be studied:
- S. Dagna, C. Formenti, M. Giori, T. Subini, Corso introduttivo allo studio della storia del cinema, Milano, Libraccio Editore, 2015, 3° edizione 2019. I seguenti capitoli con le relative schede di approfondimento: 1, 2, 3, 4, 5, 6, 7, 8, 9.
- A volume chosen from the following: Silvio Alovisio, Cabiria (Pastrone,1914). Lo spettacolo della storia, Milano, Mimesis, 2014; Stella Dagna, Ma l'amor mio non muore! (Caserini, 1913), Milano, Mimesis, 2014

Four film that must be seen
· The Great Train Robbery (La grande rapina al treno, 1903, E. Porter, contenuto in Antologia delle origini).
· Cabiria (1914, Pastrone) o Ma l'amor mio non muore! (1913, Caserini) in relazione al libro scelto
· La corazzata Potëmkin (1925, Ejzenštein)
· Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari,1920, Wiene), Nosferatu
(1922, Murnau), Meteropolis (1927, Lang) oppure Eldorado (1921, L'Herbier) o La roue (1923,
Gance)
Unit B
Texts to be studied
- S. Dagna, C. Formenti, M. Giori, T. Subini, Corso introduttivo allo studio della storia del cinema, Milano, Libraccio Editore, 2015, 3° edizione 2019. I seguenti capitoli con le relative schede di approfondimento: 10, 11, 12, 13, 14.
- A volume chosen from the following: Federico Vitella, Michelangelo Antonioni: l'avventura Torino, Lindau, 2007; Stefania Parigi, Paisà: analisi del film, Venezia, Marsilio, 2005; Michel Marie, La nouvelle vague, Torino, Lindau, 2006; Stefania Parigi, Il neorealismo. Il nuovo cinema del dopoguerra, Venezia, Marsilio, 2014; Laura Mulvey, Citizen Kane, London, British Film Institute, 1992; Richard Dyer, La dolce vita, London, BFI Palgrave, 2018
Four film that must be seen
· Citizen Kane (Quarto potere, 1941, O. Welles).
· Paisà (1946, R. Rossellini) or Ladri di biciclette (1948, V. De Sica).
· A bout de souffle (Fino all'ultimo respiro,1960, J.-L. Godard).
· The Graduate (1967, Nichols), Gangster Story (1967, Penn), Easy Rider (1969, Hopper) o Star
Wars (1977, Lucas, successivamente rinominato Star Wars: Episodio IV - Una nuova speranza)
Unit C
Texts to be studied
- Christian Uva, Sergio Leone. Il cinema come favola politica, edizioni fondazione ente dello spettacolo, Roma, 2013
- texts available on the website htttp//ariel.unimi.it ( Storia e critica del cinema Raffaele De Berti)
Four film that must be seen
· Il colosso di Rodi (1961) o Per un pugno di dollari (1964)
· Per qualche dollaro in più (1965)
· Il buono, il brutto, il cattivo (1966) o Giù la testa (1971)
· C'era una volta il West (1968) o C'era una volta in America (1984)

Program for non attending students
Unit A
Texts to be studied:
- S. Dagna, C. Formenti, M. Giori, T. Subini, Corso introduttivo allo studio della storia del cinema, Milano, Libraccio Editore, 2015, 3° edizione 2019. I seguenti capitoli con le relative schede di approfondimento: 1, 2, 3, 4, 5, 6, 7, 8, 9.
- the following volumes: Silvio Alovisio, Cabiria (Pastrone,1914). Lo spettacolo della storia, Milano, Mimesis, 2014; Stella Dagna, Ma l'amor mio non muore! (Caserini, 1913), Milano, Mimesis, 2014

Four film that must be seen
· The Great Train Robbery (La grande rapina al treno, 1903, E. Porter, contenuto in Antologia delle origini).
· Cabiria (1914, Pastrone) o Ma l'amor mio non muore! (1913, Caserini) in relazione al libro scelto
· La corazzata Potëmkin (1925, Ejzenštein)
· Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari,1920, Wiene), Nosferatu
(1922, Murnau), Meteropolis (1927, Lang) oppure Eldorado (1921, L'Herbier) o La roue (1923,
Gance)
Unit B
Texts to be studied
- S. Dagna, C. Formenti, M. Giori, T. Subini, Corso introduttivo allo studio della storia del cinema, Milano, Libraccio Editore, 2015, 3° edizione 2019. I seguenti capitoli con le relative schede di approfondimento: 10, 11, 12, 13, 14.
- two volume chosen from the following: Federico Vitella, Michelangelo Antonioni: l'avventura Torino, Lindau, 2007; Stefania Parigi, Paisà: analisi del film, Venezia, Marsilio, 2005; Michel Marie, La nouvelle vague, Torino, Lindau, 2006; Stefania Parigi, Il neorealismo. Il nuovo cinema del dopoguerra, Venezia, Marsilio, 2014; Laura Mulvey, Citizen Kane, London, British Film Institute, 1992; Richard Dyer, La dolce vita, London, BFI Palgrave, 2018
Four film that must be seen
· Citizen Kane (Quarto potere, 1941, O. Welles).
· Paisà (1946, R. Rossellini) or Ladri di biciclette (1948, V. De Sica).
· A bout de souffle (Fino all'ultimo respiro,1960, J.-L. Godard).
· The Graduate (1967, Nichols), Gangster Story (1967, Penn), Easy Rider (1969, Hopper) o Star
Wars (1977, Lucas, successivamente rinominato Star Wars: Episodio IV - Una nuova speranza)
Unit C
Texts to be studied
- Christian Uva, Sergio Leone. Il cinema come favola politica, edizioni fondazione ente dello spettacolo, Roma, 2013
- Antonio Rainone, Sergio Leone. Dal cinema popolare al cinema d'autore, Mimesis, Milano 2019
- texts available on the website htttp//ariel.unimi.it ( Storia e critica del cinema Raffaele De Berti)
Four film that must be seen
· Il colosso di Rodi (1961) o Per un pugno di dollari (1964)
· Per qualche dollaro in più (1965)
· Il buono, il brutto, il cattivo (1966) o Giù la testa (1971)
· C'era una volta il West (1968) o C'era una volta in America (1984)
Assessement methods and criteria
The exam consists of an oral interview on the topics of the program and, for attending students, also on those addressed during the lessons in the classroom. The exam intends to verify in particular the critical and logical-argumentative abilities of the student.
The examination procedures for students with disabilities and / or with DSA must be agreed with the teacher. International or Erasmus incoming students are invited to contact the teacher in a timely manner.
Unita' didattica A
L-ART/06 - CINEMA, PHOTOGRAPHY AND TELEVISION - University credits: 3
Lessons: 20 hours
Unita' didattica B
L-ART/06 - CINEMA, PHOTOGRAPHY AND TELEVISION - University credits: 3
Lessons: 20 hours
Unita' didattica C
L-ART/06 - CINEMA, PHOTOGRAPHY AND TELEVISION - University credits: 3
Lessons: 20 hours

(E-M)

Responsible
Lesson period
First semester
Course syllabus
The first part of the course (units A and B) will address the main sections of film history: 1) Early cinema; 2) Establishing of the Institutional Representation Mode (with the study of Griffith's case); 3) The golden age of Italian silent cinema; 4) The avant-gardes, German expressionism, French impressionism, the Soviet school; 5) The advent of sound and classical Hollywood cinema; 6) Italian Neorealism; 7) Nouvelle Vague; 8) Author cinema; 9) The New Hollywood. The second part of the course (units B and C) will focus on the relationship established between homosexuality and postwar Italian cinema in terms of representations, negotiations with censorship and magistracy, stardom and audience.
Prerequisites for admission
Knowledge of contemporary history.
Teaching methods
Teaching is provided through lectures, mostly analyzing audio-video materials shown in classroom.
Attendance, although not mandatory, is strongly recommended. Students who attend at least two thirds of the lessons are considered attending students.
Bibliography
I. ATTENDING STUDENTS
Unity A
- Stella Dagna, Cristina Formenti, Mauro Giori, Tomaso Subini, Corso introduttivo allo studio della storia del cinema, Libraccio, Milano 2019, 3a ed., chapters 1-9.
- Films to be watched:
· The Great Train Robbery (E. Porter, 1903).
· The Lonely Villa (D.W. Griffith, 1909).
· Un film a scelta tra Das Cabinet des Dr. Caligari (R. Wiene, 1920) e Nosferatu, eine Symphonie des Grauens (W.F. Murnau, 1922).
· A film to be chosen from Eldorado (M. L'Herbier, 1921) and Napole'on vu par Abel Gance (A. Gance, 1927).
· Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenštejn, 1925).
- A book to be chosen from the following:
· Andre' Gaudreault, Cinema delle origini o della "cinematografia-attrazione", Il Castoro, Milano 2004.
· Peter Decherney, Hollywood, Oxford University Press, Oxford 2016 (available also in Italian translation, Il Mulino, Bologna 2017).
· Mauro Giori, Poetica e prassi della trasgressione in Luchino Visconti. 1935-1962, Libraccio, Milano 2018.
· Richard Dyer, The Matter of Images. Essays on Representation, Routledge, London 2002 (available also in Italian translation, Dell'immagine. Saggi sulla rappresentazione, Kaplan, Torino 2004).
· Mauro Giori, Nell'ombra di Hitchcock. Amore, morte e malattia nell'eredita' di Psycho, ETS, Pisa 2015.
· Giacomo Manzoli, Da Ercole a Fantozzi. Cinema popolare e societa' italiana dal boom economico alla neotelevisione (1958-1976), Carocci, Roma 2013.
Unity B
- Stella Dagna, Cristina Formenti, Mauro Giori, Tomaso Subini, Corso introduttivo allo studio della storia del cinema, Libraccio, Milano 2019, 3a ed., from chapter 10 to the end.
- Films to be watched:
· Citizen Kane (Quarto potere, O. Welles, 1941).
· Ossessione (L. Visconti, 1943).
· A' bout de souffle (Fino all'ultimo respiro, J.L. Godard, 1960).
- Mauro Giori, Omosessualita' e cinema italiano. Dalla caduta del fascismo agli anni di piombo, UTET, Torino 2019, pp. 1-98 (available also in English, Homosexuality and Italian Cinema: From the Fall of Fascism to the Years of Lead, Palgrave, London 2017, pp. 1-96).
Unity C
- Mauro Giori, Omosessualita' e cinema italiano. Dalla caduta del fascismo agli anni di piombo, UTET, Torino 2019, pp. 99 to the end (available also in English, Homosexuality and Italian Cinema: From the Fall of Fascism to the Years of Lead, Palgrave, London 2017, pp. 97 to the end).
- Films to be watched:
· Two films to be chosen from: Papa' diventa mamma (1952, A. Fabrizi), Costa Azzurra (1959, V. Sala), La dolce vita (1960, F. Fellini), Rocco e i suoi fratelli (1960, L. Visconti), Le signore (1960, T. Vasile), Agostino (1962, M. Bolognini), L'isola di Arturo (1962, D. Damiani), Milano nera (1963, P. Serpi e G. Rocco), La fuga (1964, P. Spinola), Frenesia dell'estate (1964, L. Zampa), Sovversivi (1967, P. e V. Taviani).
· Two films to be chosen from: Se sei vivo spara (1967, G. Questi), Plagio (1968, S. Capogna), Il labirinto del sesso (1969, A. Brescia), Morte a Venezia (1971, L. Visconti), I racconti di Canterbury (1972, P.P. Pasolini), La donna della domenica (1976, L. Comencini), Morire a Roma (1976, G. Mingozzi).
· One episode to be chosen from: Le italiane e l'amore (1961), ep. Il matrimonio assurdo (C. Musso); Bianco, rosso, giallo, rosa (1964), ep. Il primo (M. Mida); Le belle famiglie (1964), ep. di Ugo Gregoretti; Alta infedelta' (1964), ep. Scandaloso (F. Rossi); Capriccio all'italiana (1968), ep. Il mostro della domenica (Steno); Vedo nudo (1969, D. Risi), ep. Ornella.
II. NON-ATTENDING STUDENTS
Unity A
In addition to the program for attending students, one group of texts and films to be chosen from:
· Early cinema: Book: Noël Burch, Il lucernario dell'infinito. Nascita del linguaggio cinematografico, Il Castoro, Milano 2000; films: Sortie des usines, Repas de Be'be', Arrive'e des congressistes, Le jardinier et le petit espie'gle, Arrive'e d'un train en gare (Lumie're); Grandma's Reading Glass (G.A. Smith, 1900); Le voyage dans la lune (G. Me'lie's, 1902); The Life of an American Fireman (E. Porter, 1903).
· Silent Italian cinema: Book: Silvio Alovisio, Giulia Carluccio (a cura di), Introduzione al cinema muto italiano, Utet, Torino 2014 (chapters 1-5, 9, 10, 12); film: Cabiria (G. Pastrone, 1915).
· Avant-guards: Book: François Albera, Avanguardie, Il Castoro, Milano 2003; a film to be chosen from: Entr'acte (R. Clair e F. Picabia, 1924), Le retour a' la raison (Man Ray, 1923), Ballet me'canique (F. Le'ger, 1924); La roue (A. Gance, 1923).
· Soviet school: Book: Antonio Somaini, Ejzenštejn. Il cinema, le arti, il montaggio, Einaudi, Torino 2011; a film to be chosen from Stačka (S.M. Ejzenštejn, 1924) and Oktjabr (S.M. Ejzenštejn, 1928).
· Advent of sound film: Book: Alberto Boschi, Dal muto al sonoro e Id., Il passaggio dal muto al sonoro in Europa, in Gian Piero Brunetta (ed.), Storia del cinema mondiale, Einaudi, Torino 1999, vol. II, tomo I, Stati Uniti, and vol. I, L'Europa. Miti, luoghi, divi, respectively; film: Blackmail (A. Hitchcock, 1929) in both the silent and the sound versions.
Unity B
In addition to the program for attending students, one group of texts and films to be chosen from:
· Classical Hollywood cinema: G. Alonge, G. Carluccio, Il cinema americano classico, Laterza, Bari 2006 (three chapters to be chosen freely along with the films they focus on).
· Hollywood from classical to modern era: Book: M. Giori, Alfred Hitchcock. Psycho, Lindau, Torino 2009; film: Psycho (A. Hitchcock, 1960).
· Neorealism: Book: Stefania Parigi, Il neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014; a film to be chosen from: Roma citta' aperta (R. Rossellini, 1945), Paisa' (R. Rossellini, 1946), Ladri di biciclette (V. De Sica, 1948).
· Nouvelle Vague: Book: Michel Marie, La Nouvelle Vague, Lindau, Torino 2006, film: Les quatre cents coups (F. Truffaut, 1959).
· New Hollywood: Book: Geoff King, La Nuova Hollywood. Dalla rinascita degli anni Sessanta all'era del blockbuster, Einaudi, Torino 2004, film: Easy Rider (Id., Dennis Hopper, 1969).
· Restoration: Book: Stella Dagna, Perche' restaurare i film?, ETS, Pisa 2014, film: Le Voyage dans la Lune (G. Me'lie's, 1902, in both black and white and colored versions, all available on youtube).
Unity C
In addition to the program for attending students, one of the following texts:
· Peppino Ortoleva, Il secolo dei media. Riti, abitudini, mitologie, Il Saggiatore, Milano 2009, chapters 6-7.
· Vittorio Boarini (a cura di), Erotismo, eversione, merce, Cappelli, Bologna 1974 (now Mimesis, Milano 2019), Boarini's introduction and the chapters by Bonfigioli, Branca, Cocco, Kyrou, Pasolini, Lattuada, Loy, Cosulich.
· Mauro Giori, Scandalo e banalita'. Rappresentazioni dell'eros in Luchino Visconti (1963-1976), Led, Milano 2012, chapters IV, VI, VII.
Assessement methods and criteria
During the oral exam each student will be asked to answer to questions about the subjects of the program. In addition, attending students will be asked about the topics addressed during the lessons. The exam is also meant to evaluate the student's critical and logical-argumentative abilities.
The examination criteria for students with disabilities and / or with DSA must be agreed with the teacher. International or Erasmus incoming students are invited to contact the teacher in a timely manner.
Unita' didattica A
L-ART/06 - CINEMA, PHOTOGRAPHY AND TELEVISION - University credits: 3
Lessons: 20 hours
Unita' didattica B
L-ART/06 - CINEMA, PHOTOGRAPHY AND TELEVISION - University credits: 3
Lessons: 20 hours
Unita' didattica C
L-ART/06 - CINEMA, PHOTOGRAPHY AND TELEVISION - University credits: 3
Lessons: 20 hours

(N-Z)

Responsible
Lesson period
First semester
Syllabus
Undefined
Unita' didattica A
Syllabus
Undefined
Unita' didattica B
Syllabus
Undefined
Unita' didattica C
Syllabus
Undefined
Unita' didattica A
Syllabus
Undefined
Unita' didattica B
Syllabus
Undefined
Unita' didattica C
Syllabus
Undefined
Unita' didattica A
L-ART/06 - CINEMA, PHOTOGRAPHY AND TELEVISION - University credits: 3
Lessons: 20 hours
Unita' didattica B
L-ART/06 - CINEMA, PHOTOGRAPHY AND TELEVISION - University credits: 3
Lessons: 20 hours
Unita' didattica C
L-ART/06 - CINEMA, PHOTOGRAPHY AND TELEVISION - University credits: 3
Lessons: 20 hours
Educational website(s)
Professor(s)
Reception:
Thursday, 10.30 a.m.
Via Noto 6