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
Selected essays by the teacher deposited at the copy shop next to Libropoli.
Filmography:
L’uomo con la macchina da presa (D. Vertov, 1929)
Nick’s Film (W. Wenders, 1980)
Tokio-ga (W. Wenders, 1985)
Appunti di viaggio su moda e città (W.Wenders, 1989)
Pina (W. Wenders, 2011)
Il sale della terra (W. Wenders, 2014)
Ak (C.Marker, 1985)
Sans Soleil (C. Marker, 1982)
Mutuazione: 20702644 CINEMATOGRAFIA DOCUMENTARIA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 N0 PERNIOLA IVELISE
Programme
The course intends to build a historical-critical path around the documentary cinema, with a monographic focus on artist portraits made through the cinema of the real.Core Documentation
Adriano Aprà, Breve ma veridica storia del cinema documentario-Dal cinema del reale alla nonfiction, Falsopiano, Alessandria, 2017.Selected essays by the teacher deposited at the copy shop next to Libropoli.
Filmography:
L’uomo con la macchina da presa (D. Vertov, 1929)
Nick’s Film (W. Wenders, 1980)
Tokio-ga (W. Wenders, 1985)
Appunti di viaggio su moda e città (W.Wenders, 1989)
Pina (W. Wenders, 2011)
Il sale della terra (W. Wenders, 2014)
Ak (C.Marker, 1985)
Sans Soleil (C. Marker, 1982)
Type of delivery of the course
The course takes place in a traditional way, with frontal lessons. Student interventions are encouraged in order to create a seminarial form.Attendance
The frequency is optional, but strongly recommended, since the lessons will analyse works and create moments of exchange with professionals in the context of documentary film.Type of evaluation
The exam will take place orally on the study of the entire exam program (including texts and filmography). teacher profile teaching materials
Selected essays by the teacher deposited at the copy shop next to Libropoli.
Filmography:
L’uomo con la macchina da presa (D. Vertov, 1929)
Nick’s Film (W. Wenders, 1980)
Tokio-ga (W. Wenders, 1985)
Appunti di viaggio su moda e città (W.Wenders, 1989)
Pina (W. Wenders, 2011)
Il sale della terra (W. Wenders, 2014)
Ak (C.Marker, 1985)
Sans Soleil (C. Marker, 1982)
Programme
The course intends to build a historical-critical path around the documentary cinema, with a monographic focus on artist portraits made through the cinema of the real.Core Documentation
Adriano Aprà, Breve ma veridica storia del cinema documentario-Dal cinema del reale alla nonfiction, Falsopiano, Alessandria, 2017.Selected essays by the teacher deposited at the copy shop next to Libropoli.
Filmography:
L’uomo con la macchina da presa (D. Vertov, 1929)
Nick’s Film (W. Wenders, 1980)
Tokio-ga (W. Wenders, 1985)
Appunti di viaggio su moda e città (W.Wenders, 1989)
Pina (W. Wenders, 2011)
Il sale della terra (W. Wenders, 2014)
Ak (C.Marker, 1985)
Sans Soleil (C. Marker, 1982)
Reference Bibliography
The student can implement his/her 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 takes place in a traditional way, with frontal lessons. Student interventions are encouraged in order to create a seminarial form.Attendance
The frequency is optional, but strongly recommended, since the lessons will analyse works and create moments of exchange with professionals in the context of documentary film.Type of evaluation
The exam will take place orally on the study of the entire exam program (including texts and filmography).