Filmology
A.Y. 2019/2020
Learning objectives
This university course deals with the idea of film "singularity", which the politique des auteurs leads back to that of its film director. It also deals, though, with the "plurality" of the paths which leads to the realization of a motion picture, often in several versions (sometimes "d'auteur", but not only), investigating the concept of cinematic "auteur" and the legitimacy of its "singular" conception.
Expected learning outcomes
At the end of this university course the students will have to be able to approach a film not only in an aesthetic perspective, but also in a more complex, historical and philological perspective, allowding them to reconstruct its genesis, its plurality of contributions and its reception in different historical and cultural contexts.
Lesson period: Second semester
Assessment methods: Esame
Assessment result: voto verbalizzato in trentesimi
Single course
This course cannot be attended as a single course. Please check our list of single courses to find the ones available for enrolment.
Course syllabus and organization
Single session
Lesson period
Second semester
Course syllabus
Didactic union A (20 h. - 3 CFU)
This didactic unit investigates the concept of "film author" and traces in the politique des auteurs the origin of its most "singular" conception.
Didactic union B (20 h. - 3 CFU)
This didactic union investigates the "plurality" of the paths leading to the realization of a motion picture, often in several versions, sometimes "d'auteur" but not only, studying some significant esamples.
Didactic union C (20 h. - 3 CFU)
This didactic unit deepens further the dialectic between film singularity and film plurality, studying pictures existing in different versions and analyzing them not only in an aesthetic perspective, but also in a philological and historical perspective, reconstructing their genesis and their reception in different historical and cultural contexts.
This didactic unit investigates the concept of "film author" and traces in the politique des auteurs the origin of its most "singular" conception.
Didactic union B (20 h. - 3 CFU)
This didactic union investigates the "plurality" of the paths leading to the realization of a motion picture, often in several versions, sometimes "d'auteur" but not only, studying some significant esamples.
Didactic union C (20 h. - 3 CFU)
This didactic unit deepens further the dialectic between film singularity and film plurality, studying pictures existing in different versions and analyzing them not only in an aesthetic perspective, but also in a philological and historical perspective, reconstructing their genesis and their reception in different historical and cultural contexts.
Prerequisites for admission
Basic knowledge of cinematic language.
Teaching methods
Frontal lessons.
Teaching Resources
THIS BIBLIOGRAPHY AND FILMOGRAPHY PROGRAM IS VALID UNTIL MAY 2022
Didacit unit A
Bibliography for attending students
- G. PESCATORE, L'ombra dell'autore. Teoria e storia dell'autore cinematografico, Roma, Carocci, 2006.
- A. ASTRUC, Nascita di una nuova avanguardia: la caméra stylo", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 89-93.
- F. TRUFFAUT, "Una certa tendenza del cinema francese", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 103-116.
- A. BAZIN, "Sulla politique des auteurs", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 117-131.
Teaching unit A
Bibliography for non attending students
- G. PESCATORE, L'ombra dell'autore. Teoria e storia dell'autore cinematografico, Roma, Carocci, 2006.
- A. ASTRUC, Nascita di una nuova avanguardia: la caméra stylo", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 89-93.
- F. TRUFFAUT, "Una certa tendenza del cinema francese", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 103-116.
- A. BAZIN, "Sulla politique des auteurs", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 117-131.
- E. DAGRADA, "Piano-sequenza", Enciclopedia del cinema Treccani, Volume IV, 2004, pp. 427-431.
Teaching unit B
Bibliography for attending students
- E.DAGRADA, Le varianti trasparenti. I film con Ingrid Bergman di Roberto Rossellini, Milano, LED (Il Filarete, 221), 2nd edition, 2008.
Teaching unit B
Bibliography for non attending students
- E.DAGRADA, Le varianti trasparenti. I film con Ingrid Bergman di Roberto Rossellini, Milano, LED (Il Filarete, 221), 2nd edition, 2008.
- E. DAGRADA, Quanto la critica si divise. A proposito degli "anni Bergman", in A. MARTINI (ed), L'antirossellinismo, Torino, Kaplan, 2010, pp. 80-119 (on-line: https://unim.academia.edu/ElenaDagrada).
- E. DAGRADA, Il neorealismo secondo Rossellini, in M. GUERRA (ed), Invenzioni dal vero. Discorsi sul neorealismo, Parma, Diabasis, 2015, pp. 135-152 (on-line: https://unim.academia.edu/ElenaDagrada).
Teaching unit C
Bibliography for attending students
- P. DETASSIS, E. MORREALE, M. SESTI (eds), Antonio Pietrangeli: il regista che amava le donne, Roma, Edizioni Sabinae, 2015.
Teaching unit C
Bibliography for non attending students
- P. DETASSIS, E. MORREALE, M. SESTI (eds), Antonio Pietrangeli: il regista che amava le donne, Roma, Edizioni Sabinae, 2015.
One volume chosen among the following:
- A. PIETRANGELI, Verso il realismo (a cura di Antonio Maraldi), Cesena, Il ponte vecchio, 1994.
- E. IMARISIO, La parabola del neorealismo nelle Cronache di poveri amanti di Carlo Lizzani, Roma, Carocci, 2014
- A. ANILE, M.G. GIANNICE, Operazione Gattopardo. Come Visconti trasformò un romanzo di "destra" in un successo di "sinistra", Recco-Genova, Le Mani, 2013 (the short Feltrinelli edition is not allowed).
FILMOGRAPHY FOR ATTENDING AND NON ATTENDING STUDENTS
This list of films is compulsory for attending and non attending students. All titles ara viewable at the Biblioteca di Storia dell'arte, della musica e dello spettacolo (via Noto, 6, second floor).
Teaching unit A:
Stromboli (Roberto Rossellini, 1950)
Europa '51 (Roberto Rossellini, 1952)
Teaching unit B:
Viaggio in Italia (Roberto Rossellini, 1954)
La parmigiana (Antonio Pietrangeli, 1963)
Teaching unit C:
Io la conoscevo bene (Antonio Pietrangeli, 1965)
Didacit unit A
Bibliography for attending students
- G. PESCATORE, L'ombra dell'autore. Teoria e storia dell'autore cinematografico, Roma, Carocci, 2006.
- A. ASTRUC, Nascita di una nuova avanguardia: la caméra stylo", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 89-93.
- F. TRUFFAUT, "Una certa tendenza del cinema francese", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 103-116.
- A. BAZIN, "Sulla politique des auteurs", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 117-131.
Teaching unit A
Bibliography for non attending students
- G. PESCATORE, L'ombra dell'autore. Teoria e storia dell'autore cinematografico, Roma, Carocci, 2006.
- A. ASTRUC, Nascita di una nuova avanguardia: la caméra stylo", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 89-93.
- F. TRUFFAUT, "Una certa tendenza del cinema francese", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 103-116.
- A. BAZIN, "Sulla politique des auteurs", in G. GRIGNAFFINI (ed), Il cinema secondo la Nouvelle Vague, Trento, Temi, 2006, pp. 117-131.
- E. DAGRADA, "Piano-sequenza", Enciclopedia del cinema Treccani, Volume IV, 2004, pp. 427-431.
Teaching unit B
Bibliography for attending students
- E.DAGRADA, Le varianti trasparenti. I film con Ingrid Bergman di Roberto Rossellini, Milano, LED (Il Filarete, 221), 2nd edition, 2008.
Teaching unit B
Bibliography for non attending students
- E.DAGRADA, Le varianti trasparenti. I film con Ingrid Bergman di Roberto Rossellini, Milano, LED (Il Filarete, 221), 2nd edition, 2008.
- E. DAGRADA, Quanto la critica si divise. A proposito degli "anni Bergman", in A. MARTINI (ed), L'antirossellinismo, Torino, Kaplan, 2010, pp. 80-119 (on-line: https://unim.academia.edu/ElenaDagrada).
- E. DAGRADA, Il neorealismo secondo Rossellini, in M. GUERRA (ed), Invenzioni dal vero. Discorsi sul neorealismo, Parma, Diabasis, 2015, pp. 135-152 (on-line: https://unim.academia.edu/ElenaDagrada).
Teaching unit C
Bibliography for attending students
- P. DETASSIS, E. MORREALE, M. SESTI (eds), Antonio Pietrangeli: il regista che amava le donne, Roma, Edizioni Sabinae, 2015.
Teaching unit C
Bibliography for non attending students
- P. DETASSIS, E. MORREALE, M. SESTI (eds), Antonio Pietrangeli: il regista che amava le donne, Roma, Edizioni Sabinae, 2015.
One volume chosen among the following:
- A. PIETRANGELI, Verso il realismo (a cura di Antonio Maraldi), Cesena, Il ponte vecchio, 1994.
- E. IMARISIO, La parabola del neorealismo nelle Cronache di poveri amanti di Carlo Lizzani, Roma, Carocci, 2014
- A. ANILE, M.G. GIANNICE, Operazione Gattopardo. Come Visconti trasformò un romanzo di "destra" in un successo di "sinistra", Recco-Genova, Le Mani, 2013 (the short Feltrinelli edition is not allowed).
FILMOGRAPHY FOR ATTENDING AND NON ATTENDING STUDENTS
This list of films is compulsory for attending and non attending students. All titles ara viewable at the Biblioteca di Storia dell'arte, della musica e dello spettacolo (via Noto, 6, second floor).
Teaching unit A:
Stromboli (Roberto Rossellini, 1950)
Europa '51 (Roberto Rossellini, 1952)
Teaching unit B:
Viaggio in Italia (Roberto Rossellini, 1954)
La parmigiana (Antonio Pietrangeli, 1963)
Teaching unit C:
Io la conoscevo bene (Antonio Pietrangeli, 1965)
Assessment methods and Criteria
The examination consists of an oral exam intending to ensure the knowledge of the topics (films and themes) covered in class and listed in the Bibliography and Filmography.
Unita' didattica
L-ART/06 - CINEMA, PHOTOGRAPHY AND TELEVISION - University credits: 3
Lessons: 20 hours
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