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 also includes some meetings with professionals in the documentary sector in order to put students directly in touch with the professions of cinema.
Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Extra texts could be downloaded at the beginning of the class from Moodle.
FILMOGRAPHY:
Robert Flaherty, Nanook of the North (1922)
Dziga Vertov, L’uomo con la macchina da presa (1929)
Joris Ivens, Regen (1929)
Vittorio De Seta, Lu tempu de li pisci spata (1954)- Isole di fuoco (1954)
Autori Vari, Amore in città (episodio Storia di Caterina) (1952)
Jean Rouch-Edgar Morin, Chronique d’un été (1960).
Cecilia Mangini, Stendalì (1960)
Gianfranco Mingozzi, La taranta (1962)
Chris Marker, Sans Soleil (1982)
Alina Marazzi, Un'ora sola ti vorrei (2002)
Werner Herzog, Grizzly Man (2005)
A.Ferrente-G.Piperno, Le cose belle (2012)
Nanni Moretti, Santiago, Italia (2018)
Sara Dosa, Fire of Love (2022)
Mutuazione: 20702644 CINEMATOGRAFIA DOCUMENTARIA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 N0 PERNIOLA IVELISE
Programme
The course will follow a chronological path through the history of documentary film through some keywords. The historiographical path structured in a chronological way will be articulated through some thematic articulations concerning above all the ethical questions (representability or irrapresentability of some aspects of the real) in relation to the starting reality and the social actor, the performative and authorial issue of documentary cinema and the question of spectator reception. The chosen filmography follows an exemplary path both from the historical and thematic point of view.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
Bibliography:Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Extra texts could be downloaded at the beginning of the class from Moodle.
FILMOGRAPHY:
Robert Flaherty, Nanook of the North (1922)
Dziga Vertov, L’uomo con la macchina da presa (1929)
Joris Ivens, Regen (1929)
Vittorio De Seta, Lu tempu de li pisci spata (1954)- Isole di fuoco (1954)
Autori Vari, Amore in città (episodio Storia di Caterina) (1952)
Jean Rouch-Edgar Morin, Chronique d’un été (1960).
Cecilia Mangini, Stendalì (1960)
Gianfranco Mingozzi, La taranta (1962)
Chris Marker, Sans Soleil (1982)
Alina Marazzi, Un'ora sola ti vorrei (2002)
Werner Herzog, Grizzly Man (2005)
A.Ferrente-G.Piperno, Le cose belle (2012)
Nanni Moretti, Santiago, Italia (2018)
Sara Dosa, Fire of Love (2022)
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 examination. The exam will take place orally on the study of the entire exam program (including texts and filmography). teacher profile teaching materials
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.
Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Extra texts could be downloaded at the beginning of the class from Moodle.
FILMOGRAPHY:
Robert Flaherty, Nanook of the North (1922)
Dziga Vertov, L’uomo con la macchina da presa (1929)
Joris Ivens, Regen (1929)
Vittorio De Seta, Lu tempu de li pisci spata (1954)- Isole di fuoco (1954)
Autori Vari, Amore in città (episodio Storia di Caterina) (1952)
Jean Rouch-Edgar Morin, Chronique d’un été (1960).
Cecilia Mangini, Stendalì (1960)
Gianfranco Mingozzi, La taranta (1962)
Chris Marker, Sans Soleil (1982)
Alina Marazzi, Un'ora sola ti vorrei (2002)
Werner Herzog, Grizzly Man (2005)
A.Ferrente-G.Piperno, Le cose belle (2012)
Nanni Moretti, Santiago, Italia (2018)
Sara Dosa, Fire of Love (2022)
Programme
The course will follow a chronological path through the history of documentary film through some keywords. The historiographical path structured in a chronological way will be articulated through some thematic articulations concerning above all the ethical questions (representability or irrapresentability of some aspects of the real) in relation to the starting reality and the social actor, the performative and authorial issue of documentary cinema and the question of spectator reception. The chosen filmography follows an exemplary path both from the historical and thematic point of view.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
Bibliography:Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Extra texts could be downloaded at the beginning of the class from Moodle.
FILMOGRAPHY:
Robert Flaherty, Nanook of the North (1922)
Dziga Vertov, L’uomo con la macchina da presa (1929)
Joris Ivens, Regen (1929)
Vittorio De Seta, Lu tempu de li pisci spata (1954)- Isole di fuoco (1954)
Autori Vari, Amore in città (episodio Storia di Caterina) (1952)
Jean Rouch-Edgar Morin, Chronique d’un été (1960).
Cecilia Mangini, Stendalì (1960)
Gianfranco Mingozzi, La taranta (1962)
Chris Marker, Sans Soleil (1982)
Alina Marazzi, Un'ora sola ti vorrei (2002)
Werner Herzog, Grizzly Man (2005)
A.Ferrente-G.Piperno, Le cose belle (2012)
Nanni Moretti, Santiago, Italia (2018)
Sara Dosa, Fire of Love (2022)
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 Marco Bertozzi, Storia del documentario italiano.Immagini e culture dell'altro cinema, Marsilio, Venezia, 2008 Adriano Aprà, Breve ma veridica storia del documentario, Ed. Falsopiano, Udine, 2017.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 examination. The exam will take place orally on the study of the entire exam program (including texts and filmography). teacher profile teaching materials
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.
Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Extra texts could be downloaded at the beginning of the class from Moodle.
FILMOGRAPHY:
Robert Flaherty, Nanook of the North (1922)
Dziga Vertov, L’uomo con la macchina da presa (1929)
Joris Ivens, Regen (1929)
Vittorio De Seta, Lu tempu de li pisci spata (1954)- Isole di fuoco (1954)
Autori Vari, Amore in città (episodio Storia di Caterina) (1952)
Jean Rouch-Edgar Morin, Chronique d’un été (1960).
Cecilia Mangini, Stendalì (1960)
Gianfranco Mingozzi, La taranta (1962)
Chris Marker, Sans Soleil (1982)
Alina Marazzi, Un'ora sola ti vorrei (2002)
Werner Herzog, Grizzly Man (2005)
A.Ferrente-G.Piperno, Le cose belle (2012)
Nanni Moretti, Santiago, Italia (2018)
Sara Dosa, Fire of Love (2022)
Mutuazione: 20702644 CINEMATOGRAFIA DOCUMENTARIA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 N0 PERNIOLA IVELISE
Programme
The course will follow a chronological path through the history of documentary film through some keywords. The historiographical path structured in a chronological way will be articulated through some thematic articulations concerning above all the ethical questions (representability or irrapresentability of some aspects of the real) in relation to the starting reality and the social actor, the performative and authorial issue of documentary cinema and the question of spectator reception. The chosen filmography follows an exemplary path both from the historical and thematic point of view.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
Bibliography:Maria Cristina Lasagni, Nanook cammina ancora-Il cinema documentario, storia e teoria, Bruno Mondadori Editore, Milano, 2014
Extra texts could be downloaded at the beginning of the class from Moodle.
FILMOGRAPHY:
Robert Flaherty, Nanook of the North (1922)
Dziga Vertov, L’uomo con la macchina da presa (1929)
Joris Ivens, Regen (1929)
Vittorio De Seta, Lu tempu de li pisci spata (1954)- Isole di fuoco (1954)
Autori Vari, Amore in città (episodio Storia di Caterina) (1952)
Jean Rouch-Edgar Morin, Chronique d’un été (1960).
Cecilia Mangini, Stendalì (1960)
Gianfranco Mingozzi, La taranta (1962)
Chris Marker, Sans Soleil (1982)
Alina Marazzi, Un'ora sola ti vorrei (2002)
Werner Herzog, Grizzly Man (2005)
A.Ferrente-G.Piperno, Le cose belle (2012)
Nanni Moretti, Santiago, Italia (2018)
Sara Dosa, Fire of Love (2022)
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 Marco Bertozzi, Storia del documentario italiano.Immagini e culture dell'altro cinema, Marsilio, Venezia, 2008 Adriano Aprà, Breve ma veridica storia del documentario, Ed. Falsopiano, Udine, 2017.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 examination. The exam will take place orally on the study of the entire exam program (including texts and filmography).