Film history and criticism

A.Y. 2021/2022
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-F)

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 (unit A) 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 (units B and C) will be focused on the sexualization of cinema in Italy 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
6 cfu (unità didattiche A + B): 1) + 2)
9 cfu (unità didattiche A + B + C): 1) + 2) + 3)

Texts to be studied:
1) Stella Dagna, Cristina Formenti, Mauro Giori, Tomaso Subini, Corso introduttivo allo studio della storia del cinema, Libraccio 2015, 3° edizione 2019.
2) Tomaso Subini, La via italiana alla pornografia. Cattolicesimo, sessualità e cinema (1948-1986), Le Monnier 2021.
3) Un libro a scelta tra i seguenti:
· 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;
· Gianluca della Maggiore, Tomaso Subini, Catholicism and Cinema. Modernization and Modernity, Mimesis International, Milano 2018;
· Mauro Giori, Omosessualità e cinema italiano. Dalla caduta del fascismo agli anni di piombo, UTET, Torino 2019;
· Giacomo Manzoli, Da Ercole a Fantozzi. Cinema popolare e società italiana dal boom economico alla neotelevisione (1958-1976), Carocci, Roma 2013;
· Antonio Somaini, Ejzenštejn. Il cinema, le arti, il montaggio, Einaudi, Torino 2011;
· Francesco Pitassio, Neorealist Film Culture 1945-1954: Rome, Open Cinema, Amsterdam University Press 2019;
· Francesco Di Chiara, Sessualità e marketing cinematografico italiano. Industria, culture visuali, spazio urbano (1948-1978), Rubbettino, Soveria Mannelli 2021;
· Ruggero Eugeni, Capitale algoritmico. Cinque dispositivi postmediali (più uno), Morcelliana 2021.

Films to be studied:
· Antologia delle origini: 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).
· Antologia del periodo Biograph di David W. Griffith: The Lonely Villa (1909), The Drunkard's Reformation (1909), The Painted Lady (1912), Death's Marathon (1913).
· Das Cabinet des Dr. Caligari (Il gabinetto del dr. Caligari, 1920) di Robert Wiene.
· Bronenosec Potëmkin (La corazzata Potëmkin, 1925), Sergej M. Ejzenštejn.
· Citizen Kane (Quarto potere, 1941), Orson Welles.
· Roma città aperta (1945), Roberto Rossellini.
· Vertigo (La donna che visse due volte, 1958), Alfred Hitchcock.
· À bout de souffle (Fino all'ultimo respiro, 1960), Jean-Luc Godard.
· La dolce vita (1960), Federico Fellini.
· La ricotta (1963), Pier Paolo Pasolini.
· Teorema (1968), Pier Paolo Pasolini.

Program IN ADDITION for non-attending students:
Texts to be studied:
· 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:
· Francesco giullare di Dio (1950, Roberto Rossellini)
· Stromboli (1950, Roberto Rossellini).
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

(G-Z)

Responsible
Lesson period
First semester
Lessons will be given primarily in presence in the classroom and in streaming on the TEAMS platform of the Course. Access registration to the classroom has to follow procedures given by the University.
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 three examples of films reinterpreted from a popular perspective.
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

Part A
- Stella Dagna, Cristina Formenti, Mauro Giori, Tomaso Subini, Corso introduttivo allo studio della storia del cinema, Libraccio, Milano 2019, 3a ed..

- 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 (Il gabinetto del dr. Caligari, R. Wiene, 1920) e Eldorado (El Dorado, M. L'Herbier, 1921).
· Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenštejn, 1925).
· Citizen Kane (Quarto potere, O. Welles, 1941).
· Ossessione (L. Visconti, 1943).
· À bout de souffle (Fino all'ultimo respiro, J.L. Godard, 1960).

- 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).
· Gianluca della Maggiore, Tomaso Subini, Catholicism and Cinema. Modernization and Modernity, Mimesis International, Milano 2018.
· Wanda Strauven (a cura di), The Cinema of Attracions Reloaded, Amsterdam University Press, Amsterdam 2006.
· Rick Altman, Film/Genere, Vita e Pensiero, Milano 2004 (ed. or. Film/Genre, BFI, London 1999).

Part B
- Mauro Giori, Rocco e i suoi fratelli. La vita amara di Luchino Visconti, UTET, Torino 2021.

- Films to be watched:
· Rocco e i suoi fratelli (L. Visconti, 1960)
· Walter e i suoi cugini (M. Girolami, 1961)

Part C
- Mauro Giori, Nell'ombra di Hitchcock. Amore, morte e malattia nell'eredità di Psycho, ETS, Pisa 2015 (capp. 1 e 2).

- Films to be watched:
· Psycho (Psyco, 1960, A. Hitchcock)
· Homicidal (Id., 1961, W. Castle)
· A Clockwork Orange (Arancia meccanica, 1971, S. Kubrick)
· Una gota de sangre para morir amando (I vizi morbosi di una giovane infermiera, 1973, E. De la Iglesia) (optional)


II. NON-ATTENDING STUDENTS

In addition to the program for attending students:
- Mauro Giori, Intorno a Luchino Visconti. Dieci sguardi eccentrici, UTET, Torino 2021.

- A film to be chosen from Le notti bianche (L. Visconti, 1957), Vaghe stelle dell'Orsa (L. Visconti, 1967), Ludwig (L. Visconti, 1973), Gruppo di famiglia in un interno (L. Visconti, 1974)

- 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.
· 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).
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
Professor(s)
Reception:
Thursday, 10.30 a.m.
Via Noto 6