Theory and Analysis of Cinematographic Language
A.Y. 2020/2021
Learning objectives
This university course introduces to the knowledge of the cinematic language, as well as to the history of its main expressive forms. It also introduces to the analytical tools through which students learn how to "watch" a motion picture, as an art work, but also as a communication device. Namely, this year this course deepen the knowledge of the Nouvelle Vague.
Expected learning outcomes
The aim of this course is to provide a good mastery of the technical and descriptive terminology of the discipline, as well as to supply the analytical tools allowing to learn how to "watch" a movie with a critical eye, to analyze it and to understand its way of functioning (space ad time organization, the range of shot scales, editing, language figures, talking and sound strategies etc.). All this in a theoretical, historical and analytical perspective.
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
If the sanitary emergency will still be ongoing, classes will take place mainly asynchronously through Ariel and Zoom.
Students will find all the informations to access the lessons (links and so on) as well as variations of the program and the materials to prepare (bibliography and so on) on the Airel website devoted to this teaching at the beginning of the second semester.
If it will not be possible for the exams to take place as per what indicated in the Syllabus, the exam will take place online according to modalities that will be communicated on the Ariel website devoted to this teaching at the end of the course.
Students will find all the informations to access the lessons (links and so on) as well as variations of the program and the materials to prepare (bibliography and so on) on the Airel website devoted to this teaching at the beginning of the second semester.
If it will not be possible for the exams to take place as per what indicated in the Syllabus, the exam will take place online according to modalities that will be communicated on the Ariel website devoted to this teaching at the end of the course.
Course syllabus
Part A (20 h. - 3 CFU)
This teaching unit traces a brief excursus of the history of cinematic language, from early cinema to the advent of modernity. It also dwells on the most important moments of the parallel theoretical elaboration.
Part B (20 h. - 3 CFU)
This teaching unit introduces to the American films by Orson Welles and analyses his very first works.
Part C (20 h. - 3 CFU)
This teaching unit further deepens the knowledge of Orson Welles' American films and analyses his latest works.
This teaching unit traces a brief excursus of the history of cinematic language, from early cinema to the advent of modernity. It also dwells on the most important moments of the parallel theoretical elaboration.
Part B (20 h. - 3 CFU)
This teaching unit introduces to the American films by Orson Welles and analyses his very first works.
Part C (20 h. - 3 CFU)
This teaching unit further deepens the knowledge of Orson Welles' American films and analyses his latest works.
Prerequisites for admission
No prior knowledge is required.
Teaching methods
Frontal lessons.
Teaching Resources
THIS BIBLIOGRAPHY AND FILMOGRAPHY PROGRAM IS VALID UNTIL MAY 2023
Part A
Bibliography for attending students
-G. RONDOLINO, D. TOMASI, Manuale del film. Linguaggio, racconto, analisi, Torino, UTET, 2011 (second edition or f. edizions).
-E. DAGRADA, The Great Train Robbery, Milano, Mimesis, 2011 (o ristampe successive).
-A. BAZIN, "Ontologia dell'immagine fotografica", "Montaggio proibito", "Evoluzione del linguaggio cinematografico", saggi contenuti in Che cos'è il cinema?, Milano, Garzanti, 1973 (o ristampe successive).
Part A
Bibliography for non attending students
-G. RONDOLINO, D. TOMASI, Manuale del film. Linguaggio, racconto, analisi, Torino, UTET, 2011 (seconda edizione o edizioni successive).
-E. DAGRADA, The Great Train Robbery, Milano, Mimesis, 2011 (o ristampe successive)
-A. BAZIN, "Ontologia dell'immagine fotografica", "Montaggio proibito", "Evoluzione del linguaggio cinematografico", saggi contenuti in Che cos'è il cinema?, Milano, Garzanti, 1973 (o ristampe successive).
-E. DAGRADA, Woody Allen. Manhattan, Torino, Lindau, 1997 (or next editions or reprints).
Part B
Bibliography for attending students
-J. NAREMORE, Orson Welles. Ovvero la magia del cinema, Venezia, Marsilio, 1993 (or next editions or reprints).
-A. BAZIN, Orson Welles, Trento, Temi, 2005 (or next editions or reprints).
-E. DAGRADA, "Piano-sequenza", Enciclopedia del cinema Treccani, seconda edizione aggiornata, 2020, disponibile on-line all'indirizzo:
http://www.treccani.it/enciclopedia/piano-sequenza_%28Enciclopedia-del-Cinema%29/
Part B
Bibliography for non attending students
-J. NAREMORE, Orson Welles. Ovvero la magia del cinema, Venezia, Marsilio, 1993 (or next editions or reprints).
-A. BAZIN, Orson Welles, Trento, Temi, 2005 (or next editions or reprints).
-E. DAGRADA, "Piano-sequenza", Enciclopedia del cinema Treccani, seconda edizione aggiornata, 2020, disponibile on-line all'indirizzo:
http://www.treccani.it/enciclopedia/piano-sequenza_%28Enciclopedia-del-Cinema%29/
-N. LODATO, F. BRIGNOLI, Orson Welles. Quarto potere, Torino, Lindau, 2015.
Part C
Bibliography for attending students
-P.BOGDANOVICH, Il cinema secondo Orson Welles, Milano, Il Saggiatore, 2016 (or next editions or reprints).
Part C
Bibliography for non attending students
-P.BOGDANOVICH, Il cinema secondo Orson Welles, Milano, Il Saggiatore, 2016 (or next editions or reprints).
-E. DAGRADA, "Conta di più una bella voce o un buon microfono? Orson Welles, il talento, la tecnica", La Valle dell'Eden, n. 14, 2005, pp. 106-114 (disponibile on-line all'indirizzo: https://unim.academia.edu/ElenaDagrada).
FILMOGRAPHY FOR ATTENDING AND NON ATTENDING STUDENTS
This list of films is compulsory. All titles ara viewable at the Biblioteca di Storia dell'arte, della musica e dello spettacolo (via Noto, 6, second floor).
Part A:
-Non attending students must see The Great Train Robbery (available on-line) and Manhattan (Woody Allen, 1979).
-For attending students it is compulsory the vision of all these films and part of films, all of them analysed in class. A special DVD including all films and part of films is viewable at the Biblioteca di Storia dell'arte, della musica e dello spettacolo (via Noto, 6, second floor).
-La nuit américaine (Effetto notte, François Truffaut, 1973)
-Sortie des usines/Repas de Bébé/Le jardinier et le petit espiègle/Arrivée des congressistes/Arrivée d'un train en gare/Pompiers à Lyon/Leaving Jerusalem by Train (Lumière)
-L'homme-Orchestre (Georges Méliès, 1900)
-The Ballet Master's Dream [Le rêve du maître de ballet] (Georges Méliès, 1903)
-Démolition d'un mur (Lumière)
-The Countryman and the Cinematograph (R.W.Paul, 1901)
-Ladies Skirts Nailed to a Fence (Bamforth, c1900)
-The Big Swallow (Williamson, 1901)
-Let Me Dream Again (George Albert Smith, 1900)
-Grandma's Reading Glass (George Albert Smith, 1900)
-As Seen Through a Telescope (George Albert Smith, 1900)
-The Kiss in the Tunnel (George Albert Smith, 1900)
-Voyage à travers l'impossible (Georges Méliès, 1904)
-The Miller and the Sweep (George Albert Smith, 1898)
-That Fatal Sneeze (Hepworth, 1907)
-Rescued By Rover (Hepworth, 1905)
-Fire! (Williamson, 1901)
-The Life of an American Fireman (Edison - Edwin S.Porter, 1903)
-The Great Train Robbery (Edison - Edwin S.Porter, 1903)
-Histoire d'un crime (Pathé Frères - Ferdinand Zecca, 1901)
-The Drunkard's Reformation (David Wark Griffith, 1909)
-The Lonely Villa (David Wark Griffith, 1909)
-The New York Hat (David Wark Griffith, 1912)
-Mary Jane's Mishap (George Albert Smith, 1903)
-Lonesome (Paul Fejos, 1928)
-The Crowd (La folla, King Vidor, 1928)-Show People (Maschere di celluloide, King Vidor, 1928)
-Das Cabinet des Dr. Caligari (Il gabinetto del Dr.Caligari, Robert Wiene, 1920)
-La Chute de la Maison Usher (La caduta della Casa Usher, Jean Epstein, 1928)
-Napoléon (Abel Gance, 1928)
-La corazzata Potëmkin (Sergej M. Ėjzenštejn, 1926)-Ottobre (Sergej M. Ėjzenštejn, 1928)
-The Jazz Singer (Il cantante di Jazz, Alan Crosland, 1927)
-Le Mépris (Il disprezzo, Jean-Luc Godard, 1963)
-City Lights (Luci della città, Charlie Chaplin, 1931)
-The Spiral Staircase (La scala a chiocciola, Robert Siodmak, 1946)
-Stagecoach (Ombre rosse, John Ford, 1939)
-Le ballon rouge (Il palloncino rosso, Albert Lamorisse, 1956)
-Sunrise (Aurora, Friedrich Wilhelm Murnau, 1927)
-Greed (Rapacità, Eric von Stroheim, 1923)
-Citizen Kane (Quarto potere, Orson Welles, 1941)
-Cronaca di un amore (Michelangelo Antonioni, 1950)
Part B:
LIST OF FILMS COMPULSORY FOR ATTENDING AND NON ATTENDING STUDENTS
- Citizen Kane (Quarto potere, Orson Welles, 1941) v.o. st.it.
- The Magnificent Ambersons (L'orgoglio degli Amberson, Orson Welles, 1942) v.o. st.it.
- Journey into Fear (Terrore sul Mar Nero, Norman Foster e Orson Welles [non accreditato], 1943), v.o. st. it.
Part C:
LIST OF FILMS COMPULSPORY FOR ATTENDING AND NON ATTENDING STUDENTS
- The Stranger (Lo straniero), Orson Welles, 1946, v.o. st.it.
- The Lady from Shanghai (La signora di Shanghai, Orson Welles, 1948) v.o. st.it.
- Touch of Evil (L'infernale Quinlan, Orson Welles, 1958) v.o. st.it.
Part A
Bibliography for attending students
-G. RONDOLINO, D. TOMASI, Manuale del film. Linguaggio, racconto, analisi, Torino, UTET, 2011 (second edition or f. edizions).
-E. DAGRADA, The Great Train Robbery, Milano, Mimesis, 2011 (o ristampe successive).
-A. BAZIN, "Ontologia dell'immagine fotografica", "Montaggio proibito", "Evoluzione del linguaggio cinematografico", saggi contenuti in Che cos'è il cinema?, Milano, Garzanti, 1973 (o ristampe successive).
Part A
Bibliography for non attending students
-G. RONDOLINO, D. TOMASI, Manuale del film. Linguaggio, racconto, analisi, Torino, UTET, 2011 (seconda edizione o edizioni successive).
-E. DAGRADA, The Great Train Robbery, Milano, Mimesis, 2011 (o ristampe successive)
-A. BAZIN, "Ontologia dell'immagine fotografica", "Montaggio proibito", "Evoluzione del linguaggio cinematografico", saggi contenuti in Che cos'è il cinema?, Milano, Garzanti, 1973 (o ristampe successive).
-E. DAGRADA, Woody Allen. Manhattan, Torino, Lindau, 1997 (or next editions or reprints).
Part B
Bibliography for attending students
-J. NAREMORE, Orson Welles. Ovvero la magia del cinema, Venezia, Marsilio, 1993 (or next editions or reprints).
-A. BAZIN, Orson Welles, Trento, Temi, 2005 (or next editions or reprints).
-E. DAGRADA, "Piano-sequenza", Enciclopedia del cinema Treccani, seconda edizione aggiornata, 2020, disponibile on-line all'indirizzo:
http://www.treccani.it/enciclopedia/piano-sequenza_%28Enciclopedia-del-Cinema%29/
Part B
Bibliography for non attending students
-J. NAREMORE, Orson Welles. Ovvero la magia del cinema, Venezia, Marsilio, 1993 (or next editions or reprints).
-A. BAZIN, Orson Welles, Trento, Temi, 2005 (or next editions or reprints).
-E. DAGRADA, "Piano-sequenza", Enciclopedia del cinema Treccani, seconda edizione aggiornata, 2020, disponibile on-line all'indirizzo:
http://www.treccani.it/enciclopedia/piano-sequenza_%28Enciclopedia-del-Cinema%29/
-N. LODATO, F. BRIGNOLI, Orson Welles. Quarto potere, Torino, Lindau, 2015.
Part C
Bibliography for attending students
-P.BOGDANOVICH, Il cinema secondo Orson Welles, Milano, Il Saggiatore, 2016 (or next editions or reprints).
Part C
Bibliography for non attending students
-P.BOGDANOVICH, Il cinema secondo Orson Welles, Milano, Il Saggiatore, 2016 (or next editions or reprints).
-E. DAGRADA, "Conta di più una bella voce o un buon microfono? Orson Welles, il talento, la tecnica", La Valle dell'Eden, n. 14, 2005, pp. 106-114 (disponibile on-line all'indirizzo: https://unim.academia.edu/ElenaDagrada).
FILMOGRAPHY FOR ATTENDING AND NON ATTENDING STUDENTS
This list of films is compulsory. All titles ara viewable at the Biblioteca di Storia dell'arte, della musica e dello spettacolo (via Noto, 6, second floor).
Part A:
-Non attending students must see The Great Train Robbery (available on-line) and Manhattan (Woody Allen, 1979).
-For attending students it is compulsory the vision of all these films and part of films, all of them analysed in class. A special DVD including all films and part of films is viewable at the Biblioteca di Storia dell'arte, della musica e dello spettacolo (via Noto, 6, second floor).
-La nuit américaine (Effetto notte, François Truffaut, 1973)
-Sortie des usines/Repas de Bébé/Le jardinier et le petit espiègle/Arrivée des congressistes/Arrivée d'un train en gare/Pompiers à Lyon/Leaving Jerusalem by Train (Lumière)
-L'homme-Orchestre (Georges Méliès, 1900)
-The Ballet Master's Dream [Le rêve du maître de ballet] (Georges Méliès, 1903)
-Démolition d'un mur (Lumière)
-The Countryman and the Cinematograph (R.W.Paul, 1901)
-Ladies Skirts Nailed to a Fence (Bamforth, c1900)
-The Big Swallow (Williamson, 1901)
-Let Me Dream Again (George Albert Smith, 1900)
-Grandma's Reading Glass (George Albert Smith, 1900)
-As Seen Through a Telescope (George Albert Smith, 1900)
-The Kiss in the Tunnel (George Albert Smith, 1900)
-Voyage à travers l'impossible (Georges Méliès, 1904)
-The Miller and the Sweep (George Albert Smith, 1898)
-That Fatal Sneeze (Hepworth, 1907)
-Rescued By Rover (Hepworth, 1905)
-Fire! (Williamson, 1901)
-The Life of an American Fireman (Edison - Edwin S.Porter, 1903)
-The Great Train Robbery (Edison - Edwin S.Porter, 1903)
-Histoire d'un crime (Pathé Frères - Ferdinand Zecca, 1901)
-The Drunkard's Reformation (David Wark Griffith, 1909)
-The Lonely Villa (David Wark Griffith, 1909)
-The New York Hat (David Wark Griffith, 1912)
-Mary Jane's Mishap (George Albert Smith, 1903)
-Lonesome (Paul Fejos, 1928)
-The Crowd (La folla, King Vidor, 1928)-Show People (Maschere di celluloide, King Vidor, 1928)
-Das Cabinet des Dr. Caligari (Il gabinetto del Dr.Caligari, Robert Wiene, 1920)
-La Chute de la Maison Usher (La caduta della Casa Usher, Jean Epstein, 1928)
-Napoléon (Abel Gance, 1928)
-La corazzata Potëmkin (Sergej M. Ėjzenštejn, 1926)-Ottobre (Sergej M. Ėjzenštejn, 1928)
-The Jazz Singer (Il cantante di Jazz, Alan Crosland, 1927)
-Le Mépris (Il disprezzo, Jean-Luc Godard, 1963)
-City Lights (Luci della città, Charlie Chaplin, 1931)
-The Spiral Staircase (La scala a chiocciola, Robert Siodmak, 1946)
-Stagecoach (Ombre rosse, John Ford, 1939)
-Le ballon rouge (Il palloncino rosso, Albert Lamorisse, 1956)
-Sunrise (Aurora, Friedrich Wilhelm Murnau, 1927)
-Greed (Rapacità, Eric von Stroheim, 1923)
-Citizen Kane (Quarto potere, Orson Welles, 1941)
-Cronaca di un amore (Michelangelo Antonioni, 1950)
Part B:
LIST OF FILMS COMPULSORY FOR ATTENDING AND NON ATTENDING STUDENTS
- Citizen Kane (Quarto potere, Orson Welles, 1941) v.o. st.it.
- The Magnificent Ambersons (L'orgoglio degli Amberson, Orson Welles, 1942) v.o. st.it.
- Journey into Fear (Terrore sul Mar Nero, Norman Foster e Orson Welles [non accreditato], 1943), v.o. st. it.
Part C:
LIST OF FILMS COMPULSPORY FOR ATTENDING AND NON ATTENDING STUDENTS
- The Stranger (Lo straniero), Orson Welles, 1946, v.o. st.it.
- The Lady from Shanghai (La signora di Shanghai, Orson Welles, 1948) v.o. st.it.
- Touch of Evil (L'infernale Quinlan, Orson Welles, 1958) v.o. st.it.
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 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