The course of Postcolonial Film and Media Studies is part of the formative activities at free disposal of the students of the Degree Course in DAMS (Arts, Music and Drama). This Degree Course aims at offering an adequate foundation training, an extensive knowledge and appropriate methodological and critical instruments in performing arts and film, television and digital media, offering as well an adequate know how for the organization of cultural, performing arts, film and audiovisual events. The course of Postcolonial Film and Media Studies is intended to provide 1) a foundation training of key concepts and main lines of research that characterised postcolonial studies, with a specific reference to the experiences that involved the domain of film and media studies and the historical-cultural and artistic scenes in Italy; 2) the ability to contextualise, compare and critically analyse films, according to a postcolonial perspective, film texts and media narratives on the basis of a plurality of references (theoretical articles, critical contributions, interviews) and in the light of the direct vision of works; 3) the historic, critical and methodological key concepts necessary to the study of postcolonial critical thinking and to the analysis of an audiovisual narrative in a postcolonial lens.
teacher profile teaching materials
When thinking to the Naples as seen by Italian film and TV-series we immediately think to a Neapolitanness recognizable, a fabric interwoven by some imaginary places and some reference faces and authors, from Totò to Eduardo, via Massimo Troisi. Yet there is also a denied, a hidden, a subaltern Naples, a city that shows the living traces of a past made of encounter, domination, contamination, that bring us back to the relationships with the Mediterranean countries, with Africa, but also with African American experience, from guerre de course to colonialism, from migrations to multicultural society. We will analyze some titles that contributed to give shape and visibility to this plural Naples, ideally extending to its hinterland, from the Neapolitan episode of Paisà to The Vice of Hope (Edoardo De Angelis, 2018), via Il nero (Giovanni Vento, 1967), uncovering in an anti-essentialist lens the condition of “black children of the Madonna”.
Raggio di luce, o Episodio della guerra di Tripoli (Cines, 1911)
Sulle orme dei nostri pionieri (Istituto Luce, 1936)
Scipione l’africano (Carmine Gallone, 1937)
Emigrantes (Aldo Fabrizi, 1949)
Angelo tra la folla (Leonardo De Mitri, 1950)
Akiko (Luigi Filippo D’Amico, 1961)
I due nemici (Guy Hamilton, 1961)
Il carabiniere a cavallo (Carlo Lizzani, 1961)
L’oro di Roma (Carlo Lizzani, 1961)
Faustina (Luigi Magni, 1968)
Appunti per un’Orestiade africana (Pier Paolo Pasolini, 1970)
Nell’anno del signore (Luigi Magni, 1970)
L’altra donna (Peter Del Monte, 1981)
Programme
COUNTER-HISTORIES OF A PLURAL ITALY. NAPLES AND ITS SURROUNDINGS, FROM “CHILDREN OF THE MADONNA” TO THE STRUGGLES OF “SECOND GENERATIONS”When thinking to the Naples as seen by Italian film and TV-series we immediately think to a Neapolitanness recognizable, a fabric interwoven by some imaginary places and some reference faces and authors, from Totò to Eduardo, via Massimo Troisi. Yet there is also a denied, a hidden, a subaltern Naples, a city that shows the living traces of a past made of encounter, domination, contamination, that bring us back to the relationships with the Mediterranean countries, with Africa, but also with African American experience, from guerre de course to colonialism, from migrations to multicultural society. We will analyze some titles that contributed to give shape and visibility to this plural Naples, ideally extending to its hinterland, from the Neapolitan episode of Paisà to The Vice of Hope (Edoardo De Angelis, 2018), via Il nero (Giovanni Vento, 1967), uncovering in an anti-essentialist lens the condition of “black children of the Madonna”.
Core Documentation
Suggestive filmography (subject to revision):Raggio di luce, o Episodio della guerra di Tripoli (Cines, 1911)
Sulle orme dei nostri pionieri (Istituto Luce, 1936)
Scipione l’africano (Carmine Gallone, 1937)
Emigrantes (Aldo Fabrizi, 1949)
Angelo tra la folla (Leonardo De Mitri, 1950)
Akiko (Luigi Filippo D’Amico, 1961)
I due nemici (Guy Hamilton, 1961)
Il carabiniere a cavallo (Carlo Lizzani, 1961)
L’oro di Roma (Carlo Lizzani, 1961)
Faustina (Luigi Magni, 1968)
Appunti per un’Orestiade africana (Pier Paolo Pasolini, 1970)
Nell’anno del signore (Luigi Magni, 1970)
L’altra donna (Peter Del Monte, 1981)
Reference Bibliography
A reader of articles on critical and postcolonial thinking, film history and theory, chosen by the teacher.Type of delivery of the course
The course of Postcolonial Film and Media Studies 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 the anthology of articles to be considered part of the exam program and some didactical tools for the study.Attendance
All lessons will take place in person, with the option of live streaming and recording of the lectures on the Microsoft Teams platform provided by the University.Type of evaluation
Oral exam, in presence.