The teaching of "Italian Cinema" is part of the training activities that characterize the degree course in Dams (path "Cinema, television and new media"). It proposes to deal with the history of Italian cinema according to a multiplicity of perspectives concerning the cultural context, economic and legislative institutions, stylistic forms, critical and theoretical reflections, the interpretation of films, the relationships of cinema with other arts and other media. The goal is to provide knowledge and methodological tools that allow the student to measure himself critically with the history of Italian cinema and with the analysis of filmic texts.
Canali
teacher profile teaching materials
PROGRAM: From the arrival of sound to neorealism. Italian cinema in the Fascist era. Origins and development of neorealism in the political, moral, cultural and artistic climate of the second Postwar. Production and reception modes. Plurality of ideologies, poetics, and styles. Contamination of genres. Neorealistic iconography. Forms of aesthetic renovation. The critical debate of the time. Historiographic reevaluations, critical rereadings and theoretical analyses from the 60s to today.
FILMOGRAPHY: Gli uomini, che mascalzoni… (1932) by M. Camerini; 1860 (1934) by A. Blasetti; Vecchia guardia (1935) by A. Blasetti; Dora Nelson (1939) by M. Soldati; I Grandi Magazzini (1939) by Mario Camerini; Ossessione (1943) by L.Visconti; Paisà (1946) by R. Rossellini; Germania anno zero (1948) by R. Rossellini; Ladri di biciclette (1948) by V. De Sica; La terra trema (1948) by L.Visconti; Riso amaro (1949) by G. De Santis; Miracolo a Milano (1950) by V. De Sica; Il cammino della speranza (1950) by P. Germi; Bellissima (1951) by L. Visconti; Due soldi di speranza (1951) by R. Castellani; Lo sceicco bianco (1952) by F. Fellini; Pane amore e fantasia (1953) by L. Comencini; Il grido (1957) by M. Antonioni. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.
Programme
GOALS: The teaching of "Italian Cinema" is part of the training activities that characterize the degree course in Dams (path "Cinema, television and new media"). It proposes to deal with the history of Italian cinema according to a multiplicity of perspectives concerning the cultural context, economic and legislative institutions, stylistic forms, critical and theoretical reflections, the interpretation of films, the relationships of cinema with other arts and other media. The goal is to provide knowledge and methodological tools that allow the student to measure himself critically with the history of Italian cinema and with the analysis of filmic texts.PROGRAM: From the arrival of sound to neorealism. Italian cinema in the Fascist era. Origins and development of neorealism in the political, moral, cultural and artistic climate of the second Postwar. Production and reception modes. Plurality of ideologies, poetics, and styles. Contamination of genres. Neorealistic iconography. Forms of aesthetic renovation. The critical debate of the time. Historiographic reevaluations, critical rereadings and theoretical analyses from the 60s to today.
Core Documentation
TEXTS: Gian Piero Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (pp. 73-204); David Bruni, Commedia degli anni anni trenta, Il Castoro, Milano 2013; Stefania Parigi, Neorealismo. Il nuovo cinema del dopoguerra, Marsilio, Venezia 2014 and 2016; a compilation of texts on neorealism by the teacher (you can find it in the Moodle Platform).FILMOGRAPHY: Gli uomini, che mascalzoni… (1932) by M. Camerini; 1860 (1934) by A. Blasetti; Vecchia guardia (1935) by A. Blasetti; Dora Nelson (1939) by M. Soldati; I Grandi Magazzini (1939) by Mario Camerini; Ossessione (1943) by L.Visconti; Paisà (1946) by R. Rossellini; Germania anno zero (1948) by R. Rossellini; Ladri di biciclette (1948) by V. De Sica; La terra trema (1948) by L.Visconti; Riso amaro (1949) by G. De Santis; Miracolo a Milano (1950) by V. De Sica; Il cammino della speranza (1950) by P. Germi; Bellissima (1951) by L. Visconti; Due soldi di speranza (1951) by R. Castellani; Lo sceicco bianco (1952) by F. Fellini; Pane amore e fantasia (1953) by L. Comencini; Il grido (1957) by M. Antonioni. Films will be shown in full or in part during lessons. Dvd copies will be available at the Biblioteca "Lino Miccichè", via Ostiense 139.
Attendance
Attendance at the course is strongly recommendedType of evaluation
The written test is divided into two parts. The first one requires a synthetic reflection on a period, a current, a genre, a theme, a style, an author treated during the course. The second one requires a thematic, narrative and stylistic analysis of a film included in the exam program. Duration of the test: 2 hours. teacher profile teaching materials
G.P. Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (dal cap. III in poi)
C. Uva, L'ultima spiaggia. Rive e derive del cinema italiano, Marsilio, Venezia 2021
C. Uva (a cura di), Matteo Garrone, Marsilio, Venezia 2020.
FOR ERASMUS STUDENTS:
G.P. Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (dal cap. III in poi);
C. Uva, L'ultima spiaggia. Rive e derive del cinema italiano, Marsilio, Venezia 2021.
FILMOGRAPHY
Ladri di biciclette (1948) di V. De Sica; Domenica d’agosto (1950) di L. Emmer; La spiaggia (1954) di A. Lattuada; La dolce vita (1960) di F. Fellini; L’avventura (1960) di M. Antonioni; Accattone (1961) di P. P. Pasolini; Il sorpasso (1962) di D. Risi; Prima della rivoluzione (1964) di B. Bertolucci; Per un pugno di dollari (1964) di S. Leone; L’ombrellone (1965) di D. Risi; Indagine su un cittadino al di sopra di ogni sospetto (1970) di E. Petri; Ferie d’agosto (1996) di P. Virzì; M. Garrone, L'imbalsamatore (2002) .
Core Documentation
TEXTS:G.P. Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (dal cap. III in poi)
C. Uva, L'ultima spiaggia. Rive e derive del cinema italiano, Marsilio, Venezia 2021
C. Uva (a cura di), Matteo Garrone, Marsilio, Venezia 2020.
FOR ERASMUS STUDENTS:
G.P. Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (dal cap. III in poi);
C. Uva, L'ultima spiaggia. Rive e derive del cinema italiano, Marsilio, Venezia 2021.
FILMOGRAPHY
Ladri di biciclette (1948) di V. De Sica; Domenica d’agosto (1950) di L. Emmer; La spiaggia (1954) di A. Lattuada; La dolce vita (1960) di F. Fellini; L’avventura (1960) di M. Antonioni; Accattone (1961) di P. P. Pasolini; Il sorpasso (1962) di D. Risi; Prima della rivoluzione (1964) di B. Bertolucci; Per un pugno di dollari (1964) di S. Leone; L’ombrellone (1965) di D. Risi; Indagine su un cittadino al di sopra di ogni sospetto (1970) di E. Petri; Ferie d’agosto (1996) di P. Virzì; M. Garrone, L'imbalsamatore (2002) .
Reference Bibliography
TEXTS: G.P. Brunetta, Guida alla storia del cinema italiano 1905-2003, Einaudi, Torino 2003 (dal cap. III in poi) C. Uva, L'ultima spiaggia. Rive e derive del cinema italiano, Marsilio, Venezia 2021 C. Uva (a cura di), Matteo Garrone, Marsilio, Venezia 2020.Attendance
not mandatory but strongly recommendedType of evaluation
Written test with open questions.