Programme

By relying on a set of reference contributions in film and media studies, we will review the main steps that marked the process of film history as an art, a language and an industry, from the so-called pre-cinema to classical Hollywood, dealing with the avant-gardes of 1920s, the transition to sound film, the emergence of different models of Studio System. Renoir and the modernity of The Rules of the Game. Welles’ experimentalism in Citizen Kane. Neorealism as seen by Rossellini. Hieratic classicism in Ozu. Modern author cinemas (Bergman, Antonioni, Tarkovskij). Bazin’s lesson and Nouvelle Vague (Godard). Cinema Novo (Rocha). New Hollywood (Coppola). New Iranian Cinema (Kiarostami). The emergence of Women’s Cinema and the cinema-television synergy (Campion). The transition to digital and the relaunch of 3D (Avatar).

Core Documentation

Filmography (feature films):
Cabiria (G. Pastrone, 1913), The Birth of a Nation (David W. Griffith, 1915), The Outlaw and His Wife (Victor Sjöstrom, 1917), Eldorado (M. L’Herbier, 1921), Nosferatu, a Symphony of Horror (Friedrich W. Murnau, 1922), Battleship Potemkin (Sergej M. Ejzenštejn, 1926), The Man with a Movie Camera (Dziga Vertov, 1929), Sisters of Gion (Mizoguchi Kenji, 1936), Stagecoach (John Ford, 1939), The Rules of the Game (Jean Renoir, 1939), Citizen Kane (Orson Welles, 1941), Paisà (Roberto Rossellini, 1946), Tokyo Story (Yasujirô Ozu, 1953), Wild Strawberries (Ingmar Bergman, 1957), L’avventura (Michelangelo Antonioni, 1960), Breathless (Jean-Luc Godard, 1960), Antonio das Mortes (Glauber Rocha, 1969), Solaris (Andrej A. Tarkovskij, 1972), Xala (Sembene Ousmane, 1975), Apocalypse Now – Final Cut (Francis Ford Coppola, 1979-2019), Close-up (Abbas Kiarostami, 1990), An Angel at My Table (Jane Campion, 1990), Avatar (James Cameron, 2009).
A selection of shorts, edited by the teacher (1897-1918).

Type of delivery of the course

The course of Film History is intended to be made through lessons in presence and include the viewing of a series of films, to take place mostly during the lessons, on a big screen. Attending and non-attending students will have the opportunity to access a shared folder including all the shorts in filmography, the anthology of articles to be considered part of the exam program and some didactical tools for the study.

Type of evaluation

The course of Film History includes a final written test, based on six open-ended questions and two hours of actual time. For students with specific learning disabilities (SLD) and/or possibly unable to reach the university for the written text, it will be possible to perform an oral text.

Programme

The invention of cinema, between science and ontology. Lumière, Méliès and the "primitive way of representation". The affirmation of the "institutional mode of representation" from the School of Brighton to Griffith. The rise of Hollywood and the birth of genres: the slapstick comedy, Chaplin and Keaton. The avant-gardes of the 1920s in France (abstraction, dadaism and surrealism). German expressionism. Soviet Union (theories and practices of editing). Sound and American classic cinema. The Hollywood genres and the Studio System. Poetic realism and Renoir. Welles, Bazin and modern cinema. The Nouvelle Vague. The big film directors of modern cinema: Ingmar Bergman, Michelangelo Antonioni, Pier Paolo Pasolini, Federico Fellini. New Hollywood. The elaboration of contemporary genres: post-modern cinema.

Core Documentation

BIBLIOGRAPHY:
C. Uva, V. Zagarrio (a cura di), "Le storie del cinema. Dalle origini al digitale", Carocci, Roma 2020.

I.Perniola, Godard: Fino all'ultimo respiro, Carocci, Roma, 2022.

Materiale didattico integrativo reperibile su Moodle.




FILMOGRAPHY:
Shorts movies:
Arrivée d'un train à la Ciotat (Arrivo di un treno alla stazione Ciotat, L. Lumière, 1895), Arrivée des congressistes à Neville-sur-Saône (Arrivo dei congressisti a Neville-sur-Saône, L.Lumière, 1895), Sortie d'usine (Uscita dalla fabbrica, L. Lumière), Répas de bébé (Pasto del bambino, L. Lumière, 1895), Arroseur et arrosé (Innaffiatore e innaffiato, L.Lumière, 1896), Départ de Jerusalem en chemin de fer (Partenza da Gerusalemme in treno, prod.Lumière, 1896), L'Homme orchestre (L'uomo orchestra, G.Méliès, 1900), L'Homme à la tête en caoutchouc (L'uomo dalla testa di caucciù, G.Méliès, 1901), Voyage dans la lune (Viaggio sulla Luna, G.Méliès, 1902), Le Mélomane (Il melomane, G.Méliès, 1903), The Countryman and the Cinematograph (Il contadino e il cinema, R.W.Paul, 1901), As seen through a Telescope (Visto da un cannocchiale, G.A.Smith, 1900), Mary Jane's Mishap (La disavventura di Mary Jane, G.A.Smith, 1903), Ladies Skirts Nailed to a Fence (Gonne di signore inchiodate ad un recinto, prod. Bamforth, 1900), A Big Swallow (Un bel boccone, J.Williamson, 1901), Fire! (Fuoco!, J.Williamson, 1901), Stop Thief! (Ferma ladro!, J.Williamson, 1901), Rescued by Rover (Salvata da Rover, L.Fitzhamon, 1905). The Great Train Robbery (La grande rapina al treno, E.S.Porter, 1903), A Corner in Wheat (Un accaparramento di grano, D.W.Griffith, 1909), The Musketeers of Pig Alley (La banda di Pig Alley, D.W.Griffith,1912), The Immigrant (L'emigrante, C.S.Chaplin, 1917), Entr'acte (Id. R.Clair, 1924), Un chien andalou (Un cane andaluso, L. Buñuel, 1929).

Feature Films:
Sherlock Junior (B.Keaton, 1924)
Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919)
Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926)
Citizen Kane (Quarto Potere, Orson Welles, 1941)
Ossessione (Luchino Visconti, 1943)
Ladri di biciclette (V. De Sica, 1948)
Singin’in the Rain (Cantando sotto la pioggia, S.Donen-G.Kelly, 1952)
L'eclisse (M. Antonioni, 1962)
Les 400 Coups (I 400 Colpi, F.Truffaut, 1959)
Á bout de souffle (Fino all’ultimo respiro, J.L. Godard, 1960)
La battaglia di Algeri (Gillo Pontecorvo, 1966)
Taxi Driver (M. Scorsese, 1976)
Il nastro bianco (M.Haneke, 2009)
Hugo Cabret (M. Scorsese, 2011)

Type of delivery of the course

The course takes place through the analysis of the individual works present in filmography, alternating the analysis with a critical historical path through the main stages of the history of cinema.

Attendance

The frequency is optional, but strongly recommended, since classes will analyse the cinematographic works that will then be requested in the final examination.

Type of evaluation

The final test will be written with open questions. The exam is written and consists of four or five open-ended questions. A question among those proposed will be about the elements of cinematographic language, therefore the careful study of the lexicon placed in appendix to the manual is recommended.

Programme

By relying on a set of reference contributions in film and media studies, we will review the main steps that marked the process of film history as an art, a language and an industry, from the so-called pre-cinema to classical Hollywood, dealing with the avant-gardes of 1920s, the transition to sound film, the emergence of different models of Studio System. Renoir and the modernity of The Rules of the Game. Welles’ experimentalism in Citizen Kane. Neorealism as seen by Rossellini. Hieratic classicism in Ozu. Modern author cinemas (Bergman, Antonioni, Tarkovskij). Bazin’s lesson and Nouvelle Vague (Godard). Cinema Novo (Rocha). New Hollywood (Coppola). New Iranian Cinema (Kiarostami). The emergence of Women’s Cinema and the cinema-television synergy (Campion). The transition to digital and the relaunch of 3D (Avatar).

Core Documentation

Filmography (feature films):
Cabiria (G. Pastrone, 1913), The Birth of a Nation (David W. Griffith, 1915), The Outlaw and His Wife (Victor Sjöstrom, 1917), Eldorado (M. L’Herbier, 1921), Nosferatu, a Symphony of Horror (Friedrich W. Murnau, 1922), Battleship Potemkin (Sergej M. Ejzenštejn, 1926), The Man with a Movie Camera (Dziga Vertov, 1929), Sisters of Gion (Mizoguchi Kenji, 1936), Stagecoach (John Ford, 1939), The Rules of the Game (Jean Renoir, 1939), Citizen Kane (Orson Welles, 1941), Paisà (Roberto Rossellini, 1946), Tokyo Story (Yasujirô Ozu, 1953), Wild Strawberries (Ingmar Bergman, 1957), L’avventura (Michelangelo Antonioni, 1960), Breathless (Jean-Luc Godard, 1960), Antonio das Mortes (Glauber Rocha, 1969), Solaris (Andrej A. Tarkovskij, 1972), Xala (Sembene Ousmane, 1975), Apocalypse Now – Final Cut (Francis Ford Coppola, 1979-2019), Close-up (Abbas Kiarostami, 1990), An Angel at My Table (Jane Campion, 1990), Avatar (James Cameron, 2009).
A selection of shorts, edited by the teacher (1897-1918).

Reference Bibliography

Christian Uva, Vito Zagarrio (eds.), Le storia del cinema. Dalle origini al digitale, Roma, Carocci, 2020. A reader of film history and theory articles, edited by the teacher.

Type of delivery of the course

The course of Film History is intended to be made through lessons in presence and include the viewing of a series of films, to take place mostly during the lessons, on a big screen. Attending and non-attending students will have the opportunity to access a shared folder including all the shorts in filmography, the anthology of articles to be considered part of the exam program and some didactical tools for the study.

Type of evaluation

The course of Film History includes a final written test, based on six open-ended questions and two hours of actual time. For students with specific learning disabilities (SLD) and/or possibly unable to reach the university for the written text, it will be possible to perform an oral text.

Programme

The invention of cinema, between science and ontology. Lumière, Méliès and the "primitive way of representation". The affirmation of the "institutional mode of representation" from the School of Brighton to Griffith. The rise of Hollywood and the birth of genres: the slapstick comedy, Chaplin and Keaton. The avant-gardes of the 1920s in France (abstraction, dadaism and surrealism). German expressionism. Soviet Union (theories and practices of editing). Sound and American classic cinema. The Hollywood genres and the Studio System. Poetic realism and Renoir. Welles, Bazin and modern cinema. The Nouvelle Vague. The big film directors of modern cinema: Ingmar Bergman, Michelangelo Antonioni, Pier Paolo Pasolini, Federico Fellini. New Hollywood. The elaboration of contemporary genres: post-modern cinema.

Core Documentation

BIBLIOGRAPHY:
C. Uva, V. Zagarrio (a cura di), "Le storie del cinema. Dalle origini al digitale", Carocci, Roma 2020.

I.Perniola, Godard: Fino all'ultimo respiro, Carocci, Roma, 2022.

Materiale didattico integrativo reperibile su Moodle.




FILMOGRAPHY:
Shorts movies:
Arrivée d'un train à la Ciotat (Arrivo di un treno alla stazione Ciotat, L. Lumière, 1895), Arrivée des congressistes à Neville-sur-Saône (Arrivo dei congressisti a Neville-sur-Saône, L.Lumière, 1895), Sortie d'usine (Uscita dalla fabbrica, L. Lumière), Répas de bébé (Pasto del bambino, L. Lumière, 1895), Arroseur et arrosé (Innaffiatore e innaffiato, L.Lumière, 1896), Départ de Jerusalem en chemin de fer (Partenza da Gerusalemme in treno, prod.Lumière, 1896), L'Homme orchestre (L'uomo orchestra, G.Méliès, 1900), L'Homme à la tête en caoutchouc (L'uomo dalla testa di caucciù, G.Méliès, 1901), Voyage dans la lune (Viaggio sulla Luna, G.Méliès, 1902), Le Mélomane (Il melomane, G.Méliès, 1903), The Countryman and the Cinematograph (Il contadino e il cinema, R.W.Paul, 1901), As seen through a Telescope (Visto da un cannocchiale, G.A.Smith, 1900), Mary Jane's Mishap (La disavventura di Mary Jane, G.A.Smith, 1903), Ladies Skirts Nailed to a Fence (Gonne di signore inchiodate ad un recinto, prod. Bamforth, 1900), A Big Swallow (Un bel boccone, J.Williamson, 1901), Fire! (Fuoco!, J.Williamson, 1901), Stop Thief! (Ferma ladro!, J.Williamson, 1901), Rescued by Rover (Salvata da Rover, L.Fitzhamon, 1905). The Great Train Robbery (La grande rapina al treno, E.S.Porter, 1903), A Corner in Wheat (Un accaparramento di grano, D.W.Griffith, 1909), The Musketeers of Pig Alley (La banda di Pig Alley, D.W.Griffith,1912), The Immigrant (L'emigrante, C.S.Chaplin, 1917), Entr'acte (Id. R.Clair, 1924), Un chien andalou (Un cane andaluso, L. Buñuel, 1929).

Feature Films:
Sherlock Junior (B.Keaton, 1924)
Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919)
Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926)
Citizen Kane (Quarto Potere, Orson Welles, 1941)
Ossessione (Luchino Visconti, 1943)
Ladri di biciclette (V. De Sica, 1948)
Singin’in the Rain (Cantando sotto la pioggia, S.Donen-G.Kelly, 1952)
L'eclisse (M. Antonioni, 1962)
Les 400 Coups (I 400 Colpi, F.Truffaut, 1959)
Á bout de souffle (Fino all’ultimo respiro, J.L. Godard, 1960)
La battaglia di Algeri (Gillo Pontecorvo, 1966)
Taxi Driver (M. Scorsese, 1976)
Il nastro bianco (M.Haneke, 2009)
Hugo Cabret (M. Scorsese, 2011)

Reference Bibliography

The interested student can contact the teacher to request further bibliographical information.

Type of delivery of the course

The course takes place through the analysis of the individual works present in filmography, alternating the analysis with a critical historical path through the main stages of the history of cinema.

Attendance

The frequency is optional, but strongly recommended, since classes will analyse the cinematographic works that will then be requested in the final examination.

Type of evaluation

The final test will be written with open questions. The exam is written and consists of four or five open-ended questions. A question among those proposed will be about the elements of cinematographic language, therefore the careful study of the lexicon placed in appendix to the manual is recommended.

Programme

By relying on a set of reference contributions in film and media studies, we will review the main steps that marked the process of film history as an art, a language and an industry, from the so-called pre-cinema to classical Hollywood, dealing with the avant-gardes of 1920s, the transition to sound film, the emergence of different models of Studio System. Renoir and the modernity of The Rules of the Game. Welles’ experimentalism in Citizen Kane. Neorealism as seen by Rossellini. Hieratic classicism in Ozu. Modern author cinemas (Bergman, Antonioni, Tarkovskij). Bazin’s lesson and Nouvelle Vague (Godard). Cinema Novo (Rocha). New Hollywood (Coppola). New Iranian Cinema (Kiarostami). The emergence of Women’s Cinema and the cinema-television synergy (Campion). The transition to digital and the relaunch of 3D (Avatar).

Core Documentation

Filmography (feature films):
Cabiria (G. Pastrone, 1913), The Birth of a Nation (David W. Griffith, 1915), The Outlaw and His Wife (Victor Sjöstrom, 1917), Eldorado (M. L’Herbier, 1921), Nosferatu, a Symphony of Horror (Friedrich W. Murnau, 1922), Battleship Potemkin (Sergej M. Ejzenštejn, 1926), The Man with a Movie Camera (Dziga Vertov, 1929), Sisters of Gion (Mizoguchi Kenji, 1936), Stagecoach (John Ford, 1939), The Rules of the Game (Jean Renoir, 1939), Citizen Kane (Orson Welles, 1941), Paisà (Roberto Rossellini, 1946), Tokyo Story (Yasujirô Ozu, 1953), Wild Strawberries (Ingmar Bergman, 1957), L’avventura (Michelangelo Antonioni, 1960), Breathless (Jean-Luc Godard, 1960), Antonio das Mortes (Glauber Rocha, 1969), Solaris (Andrej A. Tarkovskij, 1972), Xala (Sembene Ousmane, 1975), Apocalypse Now – Final Cut (Francis Ford Coppola, 1979-2019), Close-up (Abbas Kiarostami, 1990), An Angel at My Table (Jane Campion, 1990), Avatar (James Cameron, 2009).
A selection of shorts, edited by the teacher (1897-1918).

Reference Bibliography

The interested student can contact the teacher to request further bibliographical information.

Type of delivery of the course

The course of Film History is intended to be made through lessons in presence and include the viewing of a series of films, to take place mostly during the lessons, on a big screen. Attending and non-attending students will have the opportunity to access a shared folder including all the shorts in filmography, the anthology of articles to be considered part of the exam program and some didactical tools for the study.

Type of evaluation

The course of Film History includes a final written test, based on six open-ended questions and two hours of actual time. For students with specific learning disabilities (SLD) and/or possibly unable to reach the university for the written text, it will be possible to perform an oral text.

Programme

The invention of cinema, between science and ontology. Lumière, Méliès and the "primitive way of representation". The affirmation of the "institutional mode of representation" from the School of Brighton to Griffith. The rise of Hollywood and the birth of genres: the slapstick comedy, Chaplin and Keaton. The avant-gardes of the 1920s in France (abstraction, dadaism and surrealism). German expressionism. Soviet Union (theories and practices of editing). Sound and American classic cinema. The Hollywood genres and the Studio System. Poetic realism and Renoir. Welles, Bazin and modern cinema. The Nouvelle Vague. The big film directors of modern cinema: Ingmar Bergman, Michelangelo Antonioni, Pier Paolo Pasolini, Federico Fellini. New Hollywood. The elaboration of contemporary genres: post-modern cinema.

Core Documentation

BIBLIOGRAPHY:
C. Uva, V. Zagarrio (a cura di), "Le storie del cinema. Dalle origini al digitale", Carocci, Roma 2020.

I.Perniola, Godard: Fino all'ultimo respiro, Carocci, Roma, 2022.

Materiale didattico integrativo reperibile su Moodle.




FILMOGRAPHY:
Shorts movies:
Arrivée d'un train à la Ciotat (Arrivo di un treno alla stazione Ciotat, L. Lumière, 1895), Arrivée des congressistes à Neville-sur-Saône (Arrivo dei congressisti a Neville-sur-Saône, L.Lumière, 1895), Sortie d'usine (Uscita dalla fabbrica, L. Lumière), Répas de bébé (Pasto del bambino, L. Lumière, 1895), Arroseur et arrosé (Innaffiatore e innaffiato, L.Lumière, 1896), Départ de Jerusalem en chemin de fer (Partenza da Gerusalemme in treno, prod.Lumière, 1896), L'Homme orchestre (L'uomo orchestra, G.Méliès, 1900), L'Homme à la tête en caoutchouc (L'uomo dalla testa di caucciù, G.Méliès, 1901), Voyage dans la lune (Viaggio sulla Luna, G.Méliès, 1902), Le Mélomane (Il melomane, G.Méliès, 1903), The Countryman and the Cinematograph (Il contadino e il cinema, R.W.Paul, 1901), As seen through a Telescope (Visto da un cannocchiale, G.A.Smith, 1900), Mary Jane's Mishap (La disavventura di Mary Jane, G.A.Smith, 1903), Ladies Skirts Nailed to a Fence (Gonne di signore inchiodate ad un recinto, prod. Bamforth, 1900), A Big Swallow (Un bel boccone, J.Williamson, 1901), Fire! (Fuoco!, J.Williamson, 1901), Stop Thief! (Ferma ladro!, J.Williamson, 1901), Rescued by Rover (Salvata da Rover, L.Fitzhamon, 1905). The Great Train Robbery (La grande rapina al treno, E.S.Porter, 1903), A Corner in Wheat (Un accaparramento di grano, D.W.Griffith, 1909), The Musketeers of Pig Alley (La banda di Pig Alley, D.W.Griffith,1912), The Immigrant (L'emigrante, C.S.Chaplin, 1917), Entr'acte (Id. R.Clair, 1924), Un chien andalou (Un cane andaluso, L. Buñuel, 1929).

Feature Films:
Sherlock Junior (B.Keaton, 1924)
Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919)
Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926)
Citizen Kane (Quarto Potere, Orson Welles, 1941)
Ossessione (Luchino Visconti, 1943)
Ladri di biciclette (V. De Sica, 1948)
Singin’in the Rain (Cantando sotto la pioggia, S.Donen-G.Kelly, 1952)
L'eclisse (M. Antonioni, 1962)
Les 400 Coups (I 400 Colpi, F.Truffaut, 1959)
Á bout de souffle (Fino all’ultimo respiro, J.L. Godard, 1960)
La battaglia di Algeri (Gillo Pontecorvo, 1966)
Taxi Driver (M. Scorsese, 1976)
Il nastro bianco (M.Haneke, 2009)
Hugo Cabret (M. Scorsese, 2011)

Reference Bibliography

The interested student can contact the teacher to request further bibliographical information.

Type of delivery of the course

The course takes place through the analysis of the individual works present in filmography, alternating the analysis with a critical historical path through the main stages of the history of cinema.

Attendance

The frequency is optional, but strongly recommended, since classes will analyse the cinematographic works that will then be requested in the final examination.

Type of evaluation

The final test will be written with open questions. The exam is written and consists of four or five open-ended questions. A question among those proposed will be about the elements of cinematographic language, therefore the careful study of the lexicon placed in appendix to the manual is recommended.