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 meetings with professionals in the documentary industry in order to put students directly in contact with the professions of cinema.
Dispense a cura della docente caricate su Moodle all’inizio del corso.
FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.
Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Dziga Vertov, Tre canti su Lenin (1934)
Henry Watt-Basil Wright, Night Mail (1936)
Luciano Emmer, Racconto da un affresco (1938)
L.Visconti, M.Serandrei, M.Pagliero, G. De Santis, Giorni di gloria (1945)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
Lorenza Mazzetti, Together (1956)
Lindsay Anderson, O, Dreamland (1953)
Linsday Anderson, Every Day Except Christmas (1957)
Jean Rouch-Edgar Morin, Chronique d'une été (1962)
Chris Marker, Sans Soleil (1982)
Jay Rosenblatt, The smell of the burning ants (1994)
Alina Marazzi, Un'ora sola ti vorrei (2012)
Firouzeh Kosrovani, Radiograph of a Family (2020)
Giovanni Veronesi, La valanga azzurra, (2024)
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 second part of the course will be monographic and will be dedicated to the representation of the wild nature in the cinema of the Italian and international documentary.The course also includes meetings with professionals in the documentary industry in order to put students directly in contact with the professions of cinema.
Core Documentation
Carlo Alberto Pinelli, Professione documentarista: storia e pratiche di una passione, Edizioni Sabinae, Roma, 2017.Dispense a cura della docente caricate su Moodle all’inizio del corso.
FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.
Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Dziga Vertov, Tre canti su Lenin (1934)
Henry Watt-Basil Wright, Night Mail (1936)
Luciano Emmer, Racconto da un affresco (1938)
L.Visconti, M.Serandrei, M.Pagliero, G. De Santis, Giorni di gloria (1945)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
Lorenza Mazzetti, Together (1956)
Lindsay Anderson, O, Dreamland (1953)
Linsday Anderson, Every Day Except Christmas (1957)
Jean Rouch-Edgar Morin, Chronique d'une été (1962)
Chris Marker, Sans Soleil (1982)
Jay Rosenblatt, The smell of the burning ants (1994)
Alina Marazzi, Un'ora sola ti vorrei (2012)
Firouzeh Kosrovani, Radiograph of a Family (2020)
Giovanni Veronesi, La valanga azzurra, (2024)
Reference Bibliography
Guy Gauthier, Storie e pratiche del documentario, Lindau, Torino, 2007. Maria Cristina Lasagni, Nanook cammina ancora. Storia e pratiche dell'altro cinema, Mondadori, 2014. Marco Bertozzi, Storia del documentario italiano, Marsilio, Venezia, 2008. Joushua Malitsky, A Companion to Documentary Film History, Wiley Blackwell, London, 2020.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. Lessons streaming but not recorded. Meetings with authors will not be streamed.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 meetings with professionals in the documentary industry in order to put students directly in contact with the professions of cinema.
Dispense a cura della docente caricate su Moodle all’inizio del corso.
FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.
Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Dziga Vertov, Tre canti su Lenin (1934)
Henry Watt-Basil Wright, Night Mail (1936)
Luciano Emmer, Racconto da un affresco (1938)
L.Visconti, M.Serandrei, M.Pagliero, G. De Santis, Giorni di gloria (1945)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
Lorenza Mazzetti, Together (1956)
Lindsay Anderson, O, Dreamland (1953)
Linsday Anderson, Every Day Except Christmas (1957)
Jean Rouch-Edgar Morin, Chronique d'une été (1962)
Chris Marker, Sans Soleil (1982)
Jay Rosenblatt, The smell of the burning ants (1994)
Alina Marazzi, Un'ora sola ti vorrei (2012)
Firouzeh Kosrovani, Radiograph of a Family (2020)
Giovanni Veronesi, La valanga azzurra, (2024)
Mutuazione: 20702644 CINEMATOGRAFIA DOCUMENTARIA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 R 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 second part of the course will be monographic and will be dedicated to the representation of the wild nature in the cinema of the Italian and international documentary.The course also includes meetings with professionals in the documentary industry in order to put students directly in contact with the professions of cinema.
Core Documentation
Carlo Alberto Pinelli, Professione documentarista: storia e pratiche di una passione, Edizioni Sabinae, Roma, 2017.Dispense a cura della docente caricate su Moodle all’inizio del corso.
FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.
Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Dziga Vertov, Tre canti su Lenin (1934)
Henry Watt-Basil Wright, Night Mail (1936)
Luciano Emmer, Racconto da un affresco (1938)
L.Visconti, M.Serandrei, M.Pagliero, G. De Santis, Giorni di gloria (1945)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
Lorenza Mazzetti, Together (1956)
Lindsay Anderson, O, Dreamland (1953)
Linsday Anderson, Every Day Except Christmas (1957)
Jean Rouch-Edgar Morin, Chronique d'une été (1962)
Chris Marker, Sans Soleil (1982)
Jay Rosenblatt, The smell of the burning ants (1994)
Alina Marazzi, Un'ora sola ti vorrei (2012)
Firouzeh Kosrovani, Radiograph of a Family (2020)
Giovanni Veronesi, La valanga azzurra, (2024)
Reference Bibliography
Guy Gauthier, Storie e pratiche del documentario, Lindau, Torino, 2007. Maria Cristina Lasagni, Nanook cammina ancora. Storia e pratiche dell'altro cinema, Mondadori, 2014. Marco Bertozzi, Storia del documentario italiano, Marsilio, Venezia, 2008. Joushua Malitsky, A Companion to Documentary Film History, Wiley Blackwell, London, 2020.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. Lessons streaming but not recorded. Meetings with authors will not be streamed.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 meetings with professionals in the documentary industry in order to put students directly in contact with the professions of cinema.
Dispense a cura della docente caricate su Moodle all’inizio del corso.
FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.
Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Dziga Vertov, Tre canti su Lenin (1934)
Henry Watt-Basil Wright, Night Mail (1936)
Luciano Emmer, Racconto da un affresco (1938)
L.Visconti, M.Serandrei, M.Pagliero, G. De Santis, Giorni di gloria (1945)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
Lorenza Mazzetti, Together (1956)
Lindsay Anderson, O, Dreamland (1953)
Linsday Anderson, Every Day Except Christmas (1957)
Jean Rouch-Edgar Morin, Chronique d'une été (1962)
Chris Marker, Sans Soleil (1982)
Jay Rosenblatt, The smell of the burning ants (1994)
Alina Marazzi, Un'ora sola ti vorrei (2012)
Firouzeh Kosrovani, Radiograph of a Family (2020)
Giovanni Veronesi, La valanga azzurra, (2024)
Mutuazione: 20702644 CINEMATOGRAFIA DOCUMENTARIA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 R (docente da definire)
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 second part of the course will be monographic and will be dedicated to the representation of the wild nature in the cinema of the Italian and international documentary.The course also includes meetings with professionals in the documentary industry in order to put students directly in contact with the professions of cinema.
Core Documentation
Carlo Alberto Pinelli, Professione documentarista: storia e pratiche di una passione, Edizioni Sabinae, Roma, 2017.Dispense a cura della docente caricate su Moodle all’inizio del corso.
FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.
Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Dziga Vertov, Tre canti su Lenin (1934)
Henry Watt-Basil Wright, Night Mail (1936)
Luciano Emmer, Racconto da un affresco (1938)
L.Visconti, M.Serandrei, M.Pagliero, G. De Santis, Giorni di gloria (1945)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
Lorenza Mazzetti, Together (1956)
Lindsay Anderson, O, Dreamland (1953)
Linsday Anderson, Every Day Except Christmas (1957)
Jean Rouch-Edgar Morin, Chronique d'une été (1962)
Chris Marker, Sans Soleil (1982)
Jay Rosenblatt, The smell of the burning ants (1994)
Alina Marazzi, Un'ora sola ti vorrei (2012)
Firouzeh Kosrovani, Radiograph of a Family (2020)
Giovanni Veronesi, La valanga azzurra, (2024)
Reference Bibliography
Guy Gauthier, Storie e pratiche del documentario, Lindau, Torino, 2007. Maria Cristina Lasagni, Nanook cammina ancora. Storia e pratiche dell'altro cinema, Mondadori, 2014. Marco Bertozzi, Storia del documentario italiano, Marsilio, Venezia, 2008. Joushua Malitsky, A Companion to Documentary Film History, Wiley Blackwell, London, 2020.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. Lessons streaming but not recorded. Meetings with authors will not be streamed.Type of evaluation
Oral examination. The exam will take place orally on the study of the entire exam program (including texts and filmography).