The educational objectives of the course include a chronological knowledge of the history of documentary cinema in such a way that the student can move comfortably through authoritative paths, movements, aesthetic forms of a genre scarcely studied in the preparatory courses of cinema history. In addition, from year to year, the course will focus on a specific theme, proposing a moment of deepening and analysis. A further objective of the course is to bring the student into contact with the professionals of the sector, through the organization of periodic projections of documentaries followed by meetings with the authors.
Curriculum
teacher profile teaching materials
The course will be structured in two distinct parts: a first part will address the history of documentary cinema from its origins to the contemporary, through the study of movements, currents, authors and trends. The second part instead focuses on the theme of iconoclastic cinema, that is, it will develop through a path of analysis of all those authors and those works that have denied the image in the cinema of reality, for ideological reasons, social, political, artistic or cultural. The course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.
Bibliography:
Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Maria Cristina Lasagni, Nanook cammina ancora. Il cinema documentario: storia e teoria, Bruno Mondadori, Milano, 2014
Attention: the examination filmography following the coronavirus emergency could be subject to changes.
FIlmography:
Marguerite Duras, L'Homme atlantique (1981)
Derek Jarman, Blue (1993)
Guy Debord, Hurlements en faveur de Sade (1952)
Claude Lanzmann, Sobibor, 14 ottobre 1943, ore 13. (2001)
Dziga Vertov, L'uomo con la macchina da presa (1929)
Werner Herzog, Grizzly Man (2005)
11'09''01- September'11 (2002)
Mutuazione: 20702644 CINEMATOGRAFIA DOCUMENTARIA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 N0 PERNIOLA IVELISE
Programme
The course will be structured in two distinct parts: a first part will address the history of documentary cinema from its origins to the contemporary, through the study of movements, currents, authors and trends. The second part instead focuses on the theme of iconoclastic cinema, that is, it will develop through a path of analysis of all those authors and those works that have denied the image in the cinema of reality, for ideological reasons, social, political, artistic or cultural. The course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.
Core Documentation
Program- Cinematografia documentaria (A. A. 2019-20)Bibliography:
Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Maria Cristina Lasagni, Nanook cammina ancora. Il cinema documentario: storia e teoria, Bruno Mondadori, Milano, 2014
Attention: the examination filmography following the coronavirus emergency could be subject to changes.
FIlmography:
Marguerite Duras, L'Homme atlantique (1981)
Derek Jarman, Blue (1993)
Guy Debord, Hurlements en faveur de Sade (1952)
Claude Lanzmann, Sobibor, 14 ottobre 1943, ore 13. (2001)
Dziga Vertov, L'uomo con la macchina da presa (1929)
Werner Herzog, Grizzly Man (2005)
11'09''01- September'11 (2002)
Type of delivery of the course
The course includes lectures and attendance, since during the lessons works will be analysed in detail from the aesthetic and thematic point of view.Attendance
The course includes lectures and attendance, since during the lessons works will be analysed in detail from the aesthetic and thematic point of view.Type of evaluation
oral exam. The exam will take place orally on the study of the entire exam program (including texts and filmography). teacher profile teaching materials
The course will be structured in two distinct parts: a first part will address the history of documentary cinema from its origins to the contemporary, through the study of movements, currents, authors and trends. The second part instead focuses on the theme of iconoclastic cinema, that is, it will develop through a path of analysis of all those authors and those works that have denied the image in the cinema of reality, for ideological reasons, social, political, artistic or cultural. The course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.
Bibliography:
Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Maria Cristina Lasagni, Nanook cammina ancora. Il cinema documentario: storia e teoria, Bruno Mondadori, Milano, 2014
Attention: the examination filmography following the coronavirus emergency could be subject to changes.
FIlmography:
Marguerite Duras, L'Homme atlantique (1981)
Derek Jarman, Blue (1993)
Guy Debord, Hurlements en faveur de Sade (1952)
Claude Lanzmann, Sobibor, 14 ottobre 1943, ore 13. (2001)
Dziga Vertov, L'uomo con la macchina da presa (1929)
Werner Herzog, Grizzly Man (2005)
11'09''01- September'11 (2002)
Programme
The course will be structured in two distinct parts: a first part will address the history of documentary cinema from its origins to the contemporary, through the study of movements, currents, authors and trends. The second part instead focuses on the theme of iconoclastic cinema, that is, it will develop through a path of analysis of all those authors and those works that have denied the image in the cinema of reality, for ideological reasons, social, political, artistic or cultural. The course also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.
Core Documentation
Program- Cinematografia documentaria (A. A. 2019-20)Bibliography:
Ivelise Perniola, L'era postdocumentaria, Mimesis, Milano, 2014
Maria Cristina Lasagni, Nanook cammina ancora. Il cinema documentario: storia e teoria, Bruno Mondadori, Milano, 2014
Attention: the examination filmography following the coronavirus emergency could be subject to changes.
FIlmography:
Marguerite Duras, L'Homme atlantique (1981)
Derek Jarman, Blue (1993)
Guy Debord, Hurlements en faveur de Sade (1952)
Claude Lanzmann, Sobibor, 14 ottobre 1943, ore 13. (2001)
Dziga Vertov, L'uomo con la macchina da presa (1929)
Werner Herzog, Grizzly Man (2005)
11'09''01- September'11 (2002)
Reference Bibliography
The student can implement his theoretical background through the study of the following texts: Guy Gauthier, Storia e pratiche del documentario, Lindau, Torino, 2008 Maria Cristina Lasagni, Nanook cammina ancora. Il cinema documentario: storia e teoria, Bruno Mondadori, Milano, 2014 Marco Bertozzi, Storia del documentario italiano.Immagini e culture dell'altro cinema, Marsilio, Venezia, 2008Type of delivery of the course
The course includes lectures and attendance, since during the lessons works will be analysed in detail from the aesthetic and thematic point of view.Attendance
The course includes lectures and attendance, since during the lessons works will be analysed in detail from the aesthetic and thematic point of view.Type of evaluation
oral exam. The exam will take place orally on the study of the entire exam program (including texts and filmography).