History and criticism of the cinema

A.Y. 2020/2021
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
Lectures will be delivered remotely, in synchronous format, through Microsoft Teams. Lessons will be recorded and left available to students on the same platform until the date of the third exam session (February 2021).
On the course page on Ariel website, students will be able to find all the information on the lectures, possible changes to the programme and the related documents (bibliography etc) in case of lockdown.
Finally, in case it proves impossible to hold the exam face to face (as planned in the Syllabus), the exam will take place remotely, in ways which will be communicated on the course page on Ariel at the end of the course
Course syllabus
In the first part of the course (Parts 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 (Part C) will be focused on Fellini's cinema from I vitelloni (1953) to Prova d'orchestra (1979) by means of the analysis of a selection of films
Prerequisites for admission
Knowledge of contemporary history.
Teaching methods
The topics of the course will be addressed with the use of slides and audio-video materials analyzed during the lessons. Slides are available on the website htttp//ariel.unimi.it. Students who do not attend the lessons (neither in the synchronous format nor in the recording format), must refer to the program for non-attending students.
Teaching Resources
Program for attending students
Part 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. The following chapters: 1, 2, 3, 4, 5, 6, 7, 8, 9. (Schede I, II)
- the following volumes:
- Antonio Costa, Viaggio sulla luna (George Méliès,1902), Milano, Mimesis, 2013
- Stella Dagna, Ma l'amor mio non muore! (Caserini, 1913), Milano, Mimesis, 2014

Six films that must be seen
- Voyage dans la lune (Viaggio sulla luna, Méliès, 1902)avaible on youtube
- The Great Train Robbery (1903, E. Porter) avaible on youtube
- The Lonely Villa (1909, D.W. Griffith) or A Corner in Wheat (1909, D.W.Griffith) avaible on youtube
- Ma l'amor mio non muore! (1913, Caserini)
- La corazzata Potëmkin (1925, Ejzenštein)
- Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari,1920, Wiene), Nosferatu
(1922, Murnau), Meteropolis (1927, Lang) or Eldorado (1921, L'Herbier) or La roue (1923,
Gance)
Part 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. The following chapters: 10, 11, 12, 13, 14.(Schede III,IV,V)
- A volume chosen from the following: G. Alonge, G. Carluccio, Il cinema americano contemporaneo, Bari, Laterza, 2015; 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; Peter Decherney, Hollywood, Bologna, Il Mulino, 2017; Mulvey, Citizen Kane, London, British Film Institute, 1992;

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, later renamed Star Wars: Episodio IV - Una nuova speranza)
Part C
Texts to be studied
P. Bondanella, Il cinema di Federico Fellini, Rimini, Guaraldi, 1994 (available also in e-book, 2011 on www.ibs.it) the following chapters: 2, 3, 4, 5 (with appendices), 6 ( from p.45 to p.308).
- texts available on the website htttp//ariel.unimi.it ( Storia e critica del cinema Raffaele De Berti)

Four film that must be seen :
- I vitelloni (1953) or La strada (1954) or Le notti di Cabiria (1957) or La dolce vita (1960)
- Le tentazioni del dottor Antonio ( 1962, episodio in Boccaccio'70) or 8 ½ (1963) or Block-notes di un regista(1969, available on Raiplay)
- Toby Dammit (1968, episodio in Tre passi nel delirio) or Fellini Satyricon (1969)
- Amarcord (1973) or Prova d'orchestra (1979, available on Raiplay)

Program for non attending students
Part 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. The following chapters: 1, 2, 3, 4, 5, 6, 7, 8, 9.(Schede I, II)- the following volumes:
- Antonio Costa, Viaggio sulla luna (George Méliès,1902), Milano, Mimesis, 2013
- Stella Dagna, Ma l'amor mio non muore! (Caserini, 1913), Milano, Mimesis, 2014

Six films that must be seen
- Voyage dans la lune (Viaggio sulla luna, Méliès, 1902)avaible on youtube
- The Great Train Robbery (1903, E. Porter) avaible on youtube
- The Lonely Villa (1909, D.W. Griffith) o A Corner in Wheat (1909, D.W.Griffith) avaible on youtube
- Ma l'amor mio non muore! (1913, Caserini)
- 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)
Part 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. The following chapters: 10, 11, 12, 13, 14. (Schede III,IV,V)
- two volume chosen from the following: G. Alonge, G. Carluccio, Il cinema americano contemporaneo, Bari, Laterza, 2015; 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,Peter Decherney, Hollywood, Bologna Il Mulino, 2017; Citizen Kane, London, British Film Institute, 1992;
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)
Part C
Texts to be studied
- P. Bondanella, Il cinema di Federico Fellini, Rimini, Guaraldi, 1994 (available also in e-book, 2011 on www.ibs.it) the following chapters: 2, 3, 4, 5 (with appendices), 6 ( from p.17 to p.308).
- texts available on the website htttp//ariel.unimi.it ( Storia e critica del cinema Raffaele De Berti)
Four film that must be seen :
- I vitelloni (1953) or La strada (1954) or Le notti di Cabiria (1957) or La dolce vita (1960)
- Le tentazioni del dottor Antonio ( 1962, episodio in Boccaccio'70) or 8 ½ (1963) or Block-notes di un regista(1969, available on Raiplay)
- Toby Dammit (1968, episodio in Tre passi nel delirio) or Fellini Satyricon (1969)
- Amarcord (1973) or Prova d'orchestra (1979, available on Raiplay)
Assessment methods and Criteria
The exam consists of an oral interview on the topics of the program and also on those addressed during the lessons. 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
Lectures will be delivered remotely, in synchronous format, through Microsoft Teams. Lessons will be recorded and left available to students on the same platform until the date of the third exam session (February 2021).
On the course page on Ariel website, students will be able to find all the information on the lectures, possible changes to the programme and the related documents (bibliography etc) in case of lockdown.
Finally, in case it proves impossible to hold the exam face to face (as planned in the Syllabus), the exam will take place remotely, in ways which will be communicated on the course page on Ariel at the end of the course.
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 will be focused on recent methodological developments of film history considered in respect to the historical evolution of the concept of author.
Prerequisites for admission
Knowledge of contemporary history.
Teaching methods
The topics of the course will be addressed making the use of slides and audio-video materials analyzed during the lessons. Students who do not attend the lessons (neither in the synchronous format nor in the recording format), must refer to the program for non-attending students.
Teaching Resources
I. ATTENDING STUDENTS

Unity A
- Stella Dagna, Cristina Formenti, Mauro Giori, Tomaso Subini, Corso introduttivo allo studio della storia del cinema, Libraccio, Milano 2019, 3d ed., chapters 1-9.

- Films to be watched:
· The Great Train Robbery (E. Porter, 1903).
· The Lonely Villa (D.W. Griffith, 1909).
· A film to be chosen from Das Cabinet des Dr. Caligari (Il gabinetto del dr. Caligari, R. Wiene, 1920) and Eldorado (El Dorado, M. L'Herbier, 1921).
· Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenštejn, 1925).

- A book to be chosen from:
· André Gaudreault, Cinema delle origini o della "cinematografia-attrazione", Il Castoro, Milano 2004.
· Richard Dyer, Dell'immagine. Saggi sulla rappresentazione, Kaplan, Torino 2004 (ed. or., The Matter of Images. Essays on Representation, Routledge, London 2002).
· Mauro Giori, Omosessualità e cinema italiano. Dalla caduta del fascismo agli anni di piombo, UTET, Torino 2019 (ed. or., Homosexuality and Italian Cinema: From the Fall of Fascism to the Years of Lead, Palgrave, London 2017).
· Giacomo Manzoli, Da Ercole a Fantozzi. Cinema popolare e società italiana dal boom economico alla neotelevisione (1958-1976), Carocci, Roma 2013.
· Gianluca della Maggiore, Tomaso Subini, Catholicism and Cinema. Modernization and Modernity, Mimesis International, Milano 2018.

Unity B
- Stella Dagna, Cristina Formenti, Mauro Giori, Tomaso Subini, Corso introduttivo allo studio della storia del cinema, Libraccio, Milano 2019, 3d ed., from chapter 10 to the end.
- Mauro Giori, Nell'ombra di Hitchcock. Amore, morte e malattia nell'eredità di Psycho, ETS, Pisa 2015 (chapters 2, 3, and 9 are optional)

- Films to be watched:
· Citizen Kane (Quarto potere, O. Welles, 1941).
· Ossessione (L. Visconti, 1943).
· À bout de souffle (Fino all'ultimo respiro, J.L. Godard, 1960).
· Psycho (Psyco, A. Hitchcock, 1960).
· A film to be chosen from Sisters (Le due sorelle, B. De Palma, 1973) and Psycho (Id., G. Van Sant, 1999).

Unity C
- Mauro Giori, Poetica e prassi della trasgressione in Luchino Visconti. 1935-1962, Libraccio, Milano 2018 (chapter IV is optional).

- Films to be watched:
· Rocco e i suoi fratelli (1960, L. Visconti)
· Comizi d'amore (1963, P.P. Pasolini)

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).
· 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:
· François Truffaut, Una certa tendenza del cinema francese; André Bazin, Come si può essere Hitchcocko-Hawksiani?, in G. Grignaffini (a cura di), Il cinema secondo la Nouvelle Vague, Temi, Trento 2008.
· Roland Barthes, La morte dell'autore, in Il brusio della lingua. Saggi Critici, vol. IV, Einaudi, Torino 1988.
· Michel Foucault, Che cos'è un autore?, in Scritti letterari, Feltrinelli, Milano 1984.
· Antoine Compagnon, Il demone della teoria. Letteratura e senso comune, Einaudi, Torino 2000, chapter II "L'autore".
· Mauro Giori, «Parlavo vivo a un popolo di morti». Comizi d'amore, cinema-verità e film a tesi, «Studi pasoliniani», n. 6, 2012 (available on the course page on the website Ariel).
Assessment methods and Criteria
The exam consists of an oral interview on the topics of the program and also on those addressed during the lessons. 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

(N-Z)

Responsible
Lesson period
First semester
Lectures will be delivered remotely, in synchronous format, through Microsoft Teams. Lessons will be recorded and left available to students on the same platform until the date of the third exam session (February 2021).
On the course page on Ariel website, students will be able to find all the information on the lectures, possible changes to the programme and the related documents (bibliography etc) in case of lockdown.
Finally, in case it proves impossible to hold the exam face to face (as planned in the Syllabus), the exam will take place remotely, in ways which will be communicated on the course page on Ariel at the end of the course.
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 the Italian film censorship after World War II.
Prerequisites for admission
Knowledge of contemporary history.
Teaching methods
The topics of the course will be addressed making the use of slides and audio-video materials analyzed during the lessons. Students who do not attend the lessons (neither in the synchronous format nor in the recording format), must refer to the program for non-attending students.
Teaching Resources
Part A
Texts to be studied:
1) Stella Dagna, Cristina Formenti, Mauro Giori, Tomaso Subini, Corso introduttivo allo studio della storia del cinema, Milano, Libraccio Editore, 2015, 3° edizione 2019, chapters 1 to 8.
2) A volume chosen from the following:
· Silvio Alovisio, Cabiria. Lo spettacolo della Storia, Mimesis, Milano-Udine 2014;
· Noël Burch, Life to those Shadows, BFI, London 1990; ed. fr. riveduta, La lucarne de l'infini. Naissance du langage cinématographique, Nathan, Paris 1991; tr. it. Il lucernario dell'infinito. Nascita del linguaggio cinematografico, Il Castoro, Milano 2000;
· Peter Decherney, Hollywood, Oxford University Press, Oxford 2016; tr. it. Il Mulino, Bologna 2017;
· Gianluca della Maggiore, Tomaso Subini, Catholicism and Cinema. Modernization and Modernity, Mimesis International, Milano 2018;
· Ruggero Eugeni, La condizione postmediale, La Scuola, Brescia 2015;
· Ruggero Eugeni, Invito al cinema di Kubrick, Mursia, nuova edizione aggiornata, Milano 2015;
· André Gaudreault, Cinema delle origini o della "cinematografia-attrazione", Il Castoro, Milano 2004;
· Mauro Giori, Omosessualità e cinema italiano. Dalla caduta del fascismo agli anni di piombo, UTET, Torino 2019;
· Mauro Giori, Tomaso Subini, Mother is here. La donna in "Vertigo" di Alfred Hitchcock, Cortina, Milano 2011;
· Giacomo Manzoli, Da Ercole a Fantozzi. Cinema popolare e società italiana dal boom economico alla neotelevisione (1958-1976), Carocci, Roma 2013;
· Michel Marie, La Nouvelle Vague, Lindau, Torino 2006;
· Peppino Ortoleva, Il secolo dei media. Riti, abitudini, mitologie, Il Saggiatore, Milano 2008;
· Stefania Parigi, Il neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014;
· David Robinson, Das Cabinet des dr. Caligari, BFI, London 1997;
· Antonio Somaini, Ejzenštejn. Il cinema, le arti, il montaggio, Einaudi, Torino 2011;
· Pierre Sorlin, Ombre passeggere. Cinema e storia, Marsilio, Venezia 2013;
· Tomaso Subini, La doppia vita di "Francesco giullare di Dio". Giulio Andreotti, Félix Morlion e Roberto Rossellini, seconda edizione, Libraccio, Milano 2013.

Films to be studied:
1) Anthology of the Early cinema: Sortie des usines, Repas de Bébé, Arrivée des congressistes, Le jardinier et le petit espiègle, Arrivée d'un train en gare (Lumière); Let Me Dream Again, George Albert Smith (1900); Grandma's Reading Glass, George Albert Smith (1900); Le voyage dans la lune, Georges Méliès (1902); The Life of an American Fireman, Edison - Edwin Porter (1903); The Great Train Robbery, Edison - Edwin Porter (1903).
2) Anthology of the Biograph period by David W. Griffith: The Lonely Villa (1909), The Drunkard's Reformation (1909), The Painted Lady (1912), Death's Marathon (1913).
3) Das Cabinet des Dr. Caligari (Il gabinetto del dr. Caligari, 1920) di Robert Wiene.
4) El Dorado (Eldorado, 1921), Marcel L'Herbier.
5) Bronenosec Potëmkin (La corazzata Potëmkin, 1925), Sergej M. Ejzenštejn.

Part B
Texts to be studied:
1) Stella Dagna, Cristina Formenti, Mauro Giori, Tomaso Subini, Corso introduttivo allo studio della storia del cinema, Milano, Libraccio Editore, 2015, 3° edizione 2019, chapters 9 to the end.
2) A volume chosen from the following (different from the one chosen for the unit A):
· Silvio Alovisio, Cabiria. Lo spettacolo della Storia, Mimesis, Milano-Udine 2014;
· Noël Burch, Life to those Shadows, BFI, London 1990; ed. fr. riveduta, La lucarne de l'infini. Naissance du langage cinématographique, Nathan, Paris 1991; tr. it. Il lucernario dell'infinito. Nascita del linguaggio cinematografico, Il Castoro, Milano 2000;
· Peter Decherney, Hollywood, Oxford University Press, Oxford 2016; tr. it. Il Mulino, Bologna 2017;
· Gianluca della Maggiore, Tomaso Subini, Catholicism and Cinema. Modernization and Modernity, Mimesis International, Milano 2018;
· Ruggero Eugeni, La condizione postmediale, La Scuola, Brescia 2015;
· Ruggero Eugeni, Invito al cinema di Kubrick, Mursia, nuova edizione aggiornata, Milano 2015;
· André Gaudreault, Cinema delle origini o della "cinematografia-attrazione", Il Castoro, Milano 2004;
· Mauro Giori, Omosessualità e cinema italiano. Dalla caduta del fascismo agli anni di piombo, UTET, Torino 2019;
· Mauro Giori, Tomaso Subini, Mother is here. La donna in "Vertigo" di Alfred Hitchcock, Cortina, Milano 2011;
· Giacomo Manzoli, Da Ercole a Fantozzi. Cinema popolare e società italiana dal boom economico alla neotelevisione (1958-1976), Carocci, Roma 2013;
· Michel Marie, La Nouvelle Vague, Lindau, Torino 2006;
· Peppino Ortoleva, Il secolo dei media. Riti, abitudini, mitologie, Il Saggiatore, Milano 2008;
· Stefania Parigi, Il neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014;
· David Robinson, Das Cabinet des dr. Caligari, BFI, London 1997;
· Antonio Somaini, Ejzenštejn. Il cinema, le arti, il montaggio, Einaudi, Torino 2011;
· Pierre Sorlin, Ombre passeggere. Cinema e storia, Marsilio, Venezia 2013;
· Tomaso Subini, La doppia vita di "Francesco giullare di Dio". Giulio Andreotti, Félix Morlion e Roberto Rossellini, seconda edizione, Libraccio, Milano 2013.

Films to be studied:
1) Citizen Kane (Quarto potere, 1941), Orson Welles.
2) Roma città aperta (1945), Roberto Rossellini.
3) Stromboli (Terra di Dio) (1950), Roberto Rossellini.
4) Vertigo (La donna che visse due volte, 1958), Alfred Hitchcock.
5) À bout de souffle (Fino all'ultimo respiro, 1960), Jean-Luc Godard.

Part C
Texts to be studied:
1) Tomaso Subini, Pier Paolo Pasolini. "La ricotta", Lindau, Torino 2009.
2) a case of film censorship in Italy to be studied through primary sources (available on the site: http://cinecensura.com). The case must be chosen from a list provided on Ariel. [This activity is not intended for non-attending students].

Films to be studied:
1) La dolce vita (1960), Federico Fellini
2) La ricotta (1963), Pier Paolo Pasolini
3) the case of film censorship chosen by the student

Program in addition for non-attending students:
A volume chosen from the following (different from the ones chosen for the unit A and B):
· Silvio Alovisio, Cabiria. Lo spettacolo della Storia, Mimesis, Milano-Udine 2014;
· Noël Burch, Life to those Shadows, BFI, London 1990; ed. fr. riveduta, La lucarne de l'infini. Naissance du langage cinématographique, Nathan, Paris 1991; tr. it. Il lucernario dell'infinito. Nascita del linguaggio cinematografico, Il Castoro, Milano 2000;
· Peter Decherney, Hollywood, Oxford University Press, Oxford 2016; tr. it. Il Mulino, Bologna 2017;
· Gianluca della Maggiore, Tomaso Subini, Catholicism and Cinema. Modernization and Modernity, Mimesis International, Milano 2018;
· Ruggero Eugeni, La condizione postmediale, La Scuola, Brescia 2015;
· Ruggero Eugeni, Invito al cinema di Kubrick, Mursia, nuova edizione aggiornata, Milano 2015;
· André Gaudreault, Cinema delle origini o della "cinematografia-attrazione", Il Castoro, Milano 2004;
· Mauro Giori, Omosessualità e cinema italiano. Dalla caduta del fascismo agli anni di piombo, UTET, Torino 2019;
· Mauro Giori, Tomaso Subini, Mother is here. La donna in "Vertigo" di Alfred Hitchcock, Cortina, Milano 2011;
· Giacomo Manzoli, Da Ercole a Fantozzi. Cinema popolare e società italiana dal boom economico alla neotelevisione (1958-1976), Carocci, Roma 2013;
· Michel Marie, La Nouvelle Vague, Lindau, Torino 2006;
· Peppino Ortoleva, Il secolo dei media. Riti, abitudini, mitologie, Il Saggiatore, Milano 2008;
· Stefania Parigi, Il neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014;
· David Robinson, Das Cabinet des dr. Caligari, BFI, London 1997;
· Antonio Somaini, Ejzenštejn. Il cinema, le arti, il montaggio, Einaudi, Torino 2011;
· Pierre Sorlin, Ombre passeggere. Cinema e storia, Marsilio, Venezia 2013;
· Tomaso Subini, La doppia vita di "Francesco giullare di Dio". Giulio Andreotti, Félix Morlion e Roberto Rossellini, seconda edizione, Libraccio, Milano 2013.
Assessment 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