Literary Culture and Media Studies

A.Y. 2019/2020
6
Max ECTS
40
Overall hours
SSD
L-FIL-LET/11
Language
Italian
Learning objectives
The Unit 1 aims to provide some basic categories in order to understand the dynamics of the mass communication in a society where the traditional broadcasting media are deeply mixed with the so called "new media".
The Unit 2 aims to give the consciousness that movies work also as a reflection about look and vision, and must be thougt in the more general frame of the 20th Century visual culture.
Expected learning outcomes
At the end of the Unit 1, the student must be capable to understand and explain the basic dynamics of the network society and of the most important media, both from a socio-economic point of view and from the point of view of the communication modes.
At the conclusion of the Unit 2 the student will have acquired the necessary skills for understanding the creative and productive processes of the audiovisual language and the essential tools for a personal and conscious critical reading of the movie work.
Course syllabus and organization

Single session

Responsible
Lesson period
Second semester
Course syllabus
Mass Media and New Media. The cinematographic Language
The Course aims to study the reality of contemporary media, investigating moreover the relation-ships between general communication dynamics and communication technologies, from one side, and, from the other side, the artistic production and especially the cinema. The Module 1 focuses on the social and technological processes who gave birth to the mass-media society and then to the "net-work society", studying in deep some characteristics of the communication in the digital age and of the new configurations of the dynamics of power and counterpower, studying after the landscape of the contemporary mass culture. The Module 2 aims to give a basic knowledge of the audiovisual lan-guage. Starting from some capital cinematic works, the course will especially study the evolution of style and expression in the cinematic language, related with contemporary artistic tendencies.
Prerequisites for admission
Basic knowledge of History and Sociology of Culture. Basic knowledge of the main types of websites.
Teaching methods
Frontal lessons
Teaching Resources
Module 1 From Mass-Media to Network Society
Bibliography and other teaching materials for attending students.
Attending students will have to prepare:
Two items from the following lists, one from Section 1 and one from Section 2.
Section 1:
1) Walter Benjamin, L'opera d'arte nell'epoca della sua riproducibilità tecnica, Piccola storia della fotografia, Eduard Fuchs, il collezionista e lo storico, in Id., L'opera d'arte nell'epoca della sua riproducibilità tecnica, Torino, Einaudi, pp. 16-123, e Marshall McLuhan, Gli strumenti del comunicare, PRIMA PARTE, Milano, il Saggiatore, pp. 23-84;
2) Umberto Eco, Apocalittici e integrati, Milano, Bompiani, pp. 1-272;
3) Frédéric Martel, Mainstream, Milano, Feltrinelli;
4) Henry Jenkins, Cultura convergente, Milano, Apogeo.

Section 2:
1) Manuel Castells, Comunicazione e Potere, Milano, Università Bocconi Editore, pp. XVII-XXVIII, 1-239;
2) Fausto Colombo, Il potere socievole. Storia e critica dei social media, Bruno Mondadori;
3) Viktor Mayer-Schönberger, Kenneth Cukier, Big Data. Una rivoluzione che trasformerà il nostro modo di vivere - e già minaccia la nostra libertà, Garzanti;
4) Giovanni Ziccardi, Internet, controllo e libertà. Trasparenza, sorveglianza e segreto nell'era tecnologica, Milano, Raffaello Cortina Editore;
5) Siva Vaidhyanathan, La grande G. Come Google domina il mondo e perché dovremmo preoccuparci, Milano, Garzanti.

Module 1 From Mass-Media to Network Society
Bibliography and other teaching materials for non attending students.
Non attending students will have to prepare the following texts:
Three items from the following lists, one from Section 1 and one from Section 2.
Section 1:
1) Walter Benjamin, L'opera d'arte nell'epoca della sua riproducibilità tecnica, Piccola storia della fotografia, Eduard Fuchs, il collezionista e lo storico, in Id., L'opera d'arte nell'epoca della sua riproducibilità tecnica, Torino, Einaudi, pp. 16-123, e Marshall McLuhan, Gli strumenti del comunicare, PRIMA PARTE, Milano, il Saggiatore, pp. 23-84;
2) Umberto Eco, Apocalittici e integrati, Milano, Bompiani, pp. 1-272;
3) Frédéric Martel, Mainstream, Milano, Feltrinelli;
4) Henry Jenkins, Cultura convergente, Milano, Apogeo.

Section 2:
1) Manuel Castells, Comunicazione e Potere, Milano, Università Bocconi Editore, pp. XVII-XXVIII, 1-239;
2) Fausto Colombo, Il potere socievole. Storia e critica dei social media, Bruno Mondadori;
3) Viktor Mayer-Schönberger, Kenneth Cukier, Big Data. Una rivoluzione che trasformerà il nostro modo di vivere - e già minaccia la nostra libertà, Garzanti;
4) Giovanni Ziccardi, Internet, controllo e libertà. Trasparenza, sorveglianza e segreto nell'era tecnologica, Milano, Raffaello Cortina Editore;
5) Siva Vaidhyanathan, La grande G. Come Google domina il mondo e perché dovremmo preoccuparci, Milano, Garzanti.

Module 2: Theory and Techniques of the Audiovisual Language
Bibliography and other teaching materials for attending students.
Attending students will have to prepare the following texts:
A dossier with essays and interviews relating to the films on the program, available at the library of the LUMI cooperative, piazza Indro Montanelli 16 (Sesto San Giovanni).
Gianni Rondolino, Dario Tomasi, Manuale del film, Torino, UTET: Sceneggiatura e racconto (Cap. I), L'inquadratura (Cap. II), Il montaggio (Cap. III).
Filmography

The vision and analysis of four chosen from the following films is an integral part of the examination:
Jean-Luc Godard, Il disprezzo (1963) French version with subtitles in Italian;
Pier Paolo Pasolini, Comizi d'amore (1964) + La ricotta (1963)
Michelangelo Antonioni, Blow up (1966, Palme d'Or at the Cannes Film Festival);
Lars von Trier, Idioti (1998);
Jean-Pierre e Luc Dardenne, Rosetta (1999, Palme d'Or at the Cannes Film Festival);
Lars von Trier, Dancer in the Dark (2000, Palme d'Or at the Cannes Film Festival);
Michael Moore, Bowling for Columbine (2002);
Gus Van Sant, Elephant (2003, Palme d'Or at the Cannes Film Festival);
Steve McQueen, Hunger (2008);
Michael Haneke, Amour (2012, Palma d'oro al festival di Cannes).

Module 2: Theory and Techniques of the Audiovisual Language
Bibliography and other teaching materials for non attending students.
Non attending students will have to prepare the following texts:
A dossier with essays and interviews relating to the films on the program, available at the library of the LUMI cooperative, piazza Indro Montanelli 16 (Sesto San Giovanni).
Gianni Rondolino, Dario Tomasi, Manuale del film, Torino, UTET: Sceneggiatura e racconto (Cap. I), L'inquadratura (Cap. II), Il montaggio (Cap. III).
In addition, one chosen from the following texts:
David Bordwell, Kristin Thompson, Cinema come arte. Teoria e prassi del film, Milano, Editrice Il Castoro, Parte quarta. Lo stile filmico;
André Bazin, Che cosa è il cinema?, Milano, Garzanti: Parte Prima - Ontologia e linguaggio;
Francis Vanoye, La sceneggiatura. forme, dispositivi, modelli, Torino, Lindau.

Filmography
The vision and analysis of four chosen from the following films is an integral part of the examination:
Jean-Luc Godard, Il disprezzo (1963) French version with subtitles in Italian;
Pier Paolo Pasolini, Comizi d'amore (1964) + La ricotta (1963)
Michelangelo Antonioni, Blow up (1966, Palme d'Or at the Cannes Film Festival);
Lars von Trier, Idioti (1998);
Jean-Pierre e Luc Dardenne, Rosetta (1999, Palme d'Or at the Cannes Film Festival);
Lars von Trier, Dancer in the Dark (2000, Palme d'Or at the Cannes Film Festival);
Michael Moore, Bowling for Columbine (2002);
Gus Van Sant, Elephant (2003, Palme d'Or at the Cannes Film Festival);
Steve McQueen, Hunger (2008);
Michael Haneke, Amour (2012, Palma d'oro al festival di Cannes).
Assessment methods and Criteria
The exam consists of an oral interview on the topics of the program, aimed at ascertaining the knowledge of the main topics and in particular the acquisition of basic methodological tools respectively for the interpretation of the dynamics of the media system and the mass culture (module 1), cinematographic texts (module 2). Attendance at lessons is strongly recommended for better exam preparation. However, the program already includes additions for students who could not attend.
There are no intermediate tests, nor exams with partial programs: students must present both modules (6 ECTS exam) or one of their choice (3 ECTS exam) for the exam. Students must register through the appropriate links on the University website: only in this case the exams can be regularly registered.
Teaching Unit 1
L-FIL-LET/11 - CONTEMPORARY ITALIAN LITERATURE - University credits: 3
Lessons: 20 hours
Professor: Turchetta Giovanni
Teaching Unit 2 (Theories and techniques of audiovisual communication)
L-FIL-LET/11 - CONTEMPORARY ITALIAN LITERATURE - University credits: 3
Lessons: 20 hours