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.

Attendance

Attendance in person is strongly recommended, as the lessons are supplemented by screenings of short and feature films on the big screen. However, it is also possible to attend the course remotely via the Teams platform.

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 course of Film History is part of the formative activities defined as characteristic 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. In the context of the two training courses offered by the Degree Course, the course of Film History is intended to provide 1) a foundation training of the film language, of the reference experiences and authors/authoresses in the world film history; 2) the ability to contextualize, compare and critically analyze films according to a plurality of references (a handbook, some theoretical articles, critical contributions of the time) and in the light of the direct vision of works; 3) the historic, critical and theoretical concepts necessary to the study of film history and useful to get a good mastery of expression in oral and written form.

Core Documentation

BIBLIOGRAFIA:
C. Uva, V. Zagarrio (a cura di), Le storie del cinema. Dalle origini al digitale, Carocci, Roma 2020.
un volume a scelta tra :
I.Perniola, Godard: Fino all’ultimo respiro, Roma, Carocci, 2022.
I.Perniola (a cura di), François Truffaut, Venezia, Marsilio, 2024.
Dispense a cura della docente scaricabili da Moodle.

FILMOGRAFIA:
CORTOMETRAGGI:

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),
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 Lonely Villa (D.W. Griffith, 1909), The battle of Elderbush Gulch (1913), The Immigrant (L'emigrante, C.S.Chaplin, 1917), Entr'acte (Id. R.Clair, 1924), Sinfonia diagonale (V.Eggeling, 1924), Un chien andalou (Un cane andaluso, L. Buñuel, 1929).


Lungometraggi:

Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919)
Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926)
Sherlock Jr. (La palla nr.13, B. Keaton, 1926)
L'uomo con la macchina da presa (D. Vertov, 1929)
Citizen Kane (Quarto Potere, Orson Welles, 1941)
Ladri di biciclette (V. De Sica, 1948)
Singin’in the Rain (Cantando sotto la pioggia, S.Donen-G.Kelly, 1952)
Les 400 Coups (I 400 Colpi, F. Truffaut, 1959)
Á bout de souffle (Fino all’ultimo respiro, J.L. Godard, 1960)
Jules e Jim (F. Truffaut, 1961)
L'avventura (M. Antonioni, 1960)
Il disprezzo (J.L.Godard, 1963)
Terrore cieco (R. Fleischer, 1971)
Taxi Driver (M. Scorsese, 1976)
Hugo Cabret (M.Scorsese, 2011)

Reference Bibliography

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

Attendance

Compulsory

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.

Attendance

Attendance in person is strongly recommended, as the lessons are supplemented by screenings of short and feature films on the big screen. However, it is also possible to attend the course remotely via the Teams platform.

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 course of Film History is part of the formative activities defined as characteristic 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. In the context of the two training courses offered by the Degree Course, the course of Film History is intended to provide 1) a foundation training of the film language, of the reference experiences and authors/authoresses in the world film history; 2) the ability to contextualize, compare and critically analyze films according to a plurality of references (a handbook, some theoretical articles, critical contributions of the time) and in the light of the direct vision of works; 3) the historic, critical and theoretical concepts necessary to the study of film history and useful to get a good mastery of expression in oral and written form.

Core Documentation

BIBLIOGRAFIA:
C. Uva, V. Zagarrio (a cura di), Le storie del cinema. Dalle origini al digitale, Carocci, Roma 2020.
un volume a scelta tra :
I.Perniola, Godard: Fino all’ultimo respiro, Roma, Carocci, 2022.
I.Perniola (a cura di), François Truffaut, Venezia, Marsilio, 2024.
Dispense a cura della docente scaricabili da Moodle.

FILMOGRAFIA:
CORTOMETRAGGI:

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),
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 Lonely Villa (D.W. Griffith, 1909), The battle of Elderbush Gulch (1913), The Immigrant (L'emigrante, C.S.Chaplin, 1917), Entr'acte (Id. R.Clair, 1924), Sinfonia diagonale (V.Eggeling, 1924), Un chien andalou (Un cane andaluso, L. Buñuel, 1929).


Lungometraggi:

Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919)
Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926)
Sherlock Jr. (La palla nr.13, B. Keaton, 1926)
L'uomo con la macchina da presa (D. Vertov, 1929)
Citizen Kane (Quarto Potere, Orson Welles, 1941)
Ladri di biciclette (V. De Sica, 1948)
Singin’in the Rain (Cantando sotto la pioggia, S.Donen-G.Kelly, 1952)
Les 400 Coups (I 400 Colpi, F. Truffaut, 1959)
Á bout de souffle (Fino all’ultimo respiro, J.L. Godard, 1960)
Jules e Jim (F. Truffaut, 1961)
L'avventura (M. Antonioni, 1960)
Il disprezzo (J.L.Godard, 1963)
Terrore cieco (R. Fleischer, 1971)
Taxi Driver (M. Scorsese, 1976)
Hugo Cabret (M.Scorsese, 2011)

Reference Bibliography

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

Attendance

Compulsory

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.

Attendance

Attendance in person is strongly recommended, as the lessons are supplemented by screenings of short and feature films on the big screen. However, it is also possible to attend the course remotely via the Teams platform.

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 course of Film History is part of the formative activities defined as characteristic 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. In the context of the two training courses offered by the Degree Course, the course of Film History is intended to provide 1) a foundation training of the film language, of the reference experiences and authors/authoresses in the world film history; 2) the ability to contextualize, compare and critically analyze films according to a plurality of references (a handbook, some theoretical articles, critical contributions of the time) and in the light of the direct vision of works; 3) the historic, critical and theoretical concepts necessary to the study of film history and useful to get a good mastery of expression in oral and written form.

Core Documentation

BIBLIOGRAFIA:
C. Uva, V. Zagarrio (a cura di), Le storie del cinema. Dalle origini al digitale, Carocci, Roma 2020.
un volume a scelta tra :
I.Perniola, Godard: Fino all’ultimo respiro, Roma, Carocci, 2022.
I.Perniola (a cura di), François Truffaut, Venezia, Marsilio, 2024.
Dispense a cura della docente scaricabili da Moodle.

FILMOGRAFIA:
CORTOMETRAGGI:

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),
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 Lonely Villa (D.W. Griffith, 1909), The battle of Elderbush Gulch (1913), The Immigrant (L'emigrante, C.S.Chaplin, 1917), Entr'acte (Id. R.Clair, 1924), Sinfonia diagonale (V.Eggeling, 1924), Un chien andalou (Un cane andaluso, L. Buñuel, 1929).


Lungometraggi:

Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919)
Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926)
Sherlock Jr. (La palla nr.13, B. Keaton, 1926)
L'uomo con la macchina da presa (D. Vertov, 1929)
Citizen Kane (Quarto Potere, Orson Welles, 1941)
Ladri di biciclette (V. De Sica, 1948)
Singin’in the Rain (Cantando sotto la pioggia, S.Donen-G.Kelly, 1952)
Les 400 Coups (I 400 Colpi, F. Truffaut, 1959)
Á bout de souffle (Fino all’ultimo respiro, J.L. Godard, 1960)
Jules e Jim (F. Truffaut, 1961)
L'avventura (M. Antonioni, 1960)
Il disprezzo (J.L.Godard, 1963)
Terrore cieco (R. Fleischer, 1971)
Taxi Driver (M. Scorsese, 1976)
Hugo Cabret (M.Scorsese, 2011)

Reference Bibliography

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

Attendance

Compulsory

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.

Attendance

Attendance in person is strongly recommended, as the lessons are supplemented by screenings of short and feature films on the big screen. However, it is also possible to attend the course remotely via the Teams platform.

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 course of Film History is part of the formative activities defined as characteristic 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. In the context of the two training courses offered by the Degree Course, the course of Film History is intended to provide 1) a foundation training of the film language, of the reference experiences and authors/authoresses in the world film history; 2) the ability to contextualize, compare and critically analyze films according to a plurality of references (a handbook, some theoretical articles, critical contributions of the time) and in the light of the direct vision of works; 3) the historic, critical and theoretical concepts necessary to the study of film history and useful to get a good mastery of expression in oral and written form.

Core Documentation

BIBLIOGRAFIA:
C. Uva, V. Zagarrio (a cura di), Le storie del cinema. Dalle origini al digitale, Carocci, Roma 2020.
un volume a scelta tra :
I.Perniola, Godard: Fino all’ultimo respiro, Roma, Carocci, 2022.
I.Perniola (a cura di), François Truffaut, Venezia, Marsilio, 2024.
Dispense a cura della docente scaricabili da Moodle.

FILMOGRAFIA:
CORTOMETRAGGI:

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),
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 Lonely Villa (D.W. Griffith, 1909), The battle of Elderbush Gulch (1913), The Immigrant (L'emigrante, C.S.Chaplin, 1917), Entr'acte (Id. R.Clair, 1924), Sinfonia diagonale (V.Eggeling, 1924), Un chien andalou (Un cane andaluso, L. Buñuel, 1929).


Lungometraggi:

Das Cabinet des Dr. Caligari (Il gabinetto del dottor Caligari, R.Wiene, 1919)
Bronenosec Potëmkin (La corazzata Potëmkin, S.M. Ejzenstejn, 1926)
Sherlock Jr. (La palla nr.13, B. Keaton, 1926)
L'uomo con la macchina da presa (D. Vertov, 1929)
Citizen Kane (Quarto Potere, Orson Welles, 1941)
Ladri di biciclette (V. De Sica, 1948)
Singin’in the Rain (Cantando sotto la pioggia, S.Donen-G.Kelly, 1952)
Les 400 Coups (I 400 Colpi, F. Truffaut, 1959)
Á bout de souffle (Fino all’ultimo respiro, J.L. Godard, 1960)
Jules e Jim (F. Truffaut, 1961)
L'avventura (M. Antonioni, 1960)
Il disprezzo (J.L.Godard, 1963)
Terrore cieco (R. Fleischer, 1971)
Taxi Driver (M. Scorsese, 1976)
Hugo Cabret (M.Scorsese, 2011)

Reference Bibliography

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

Attendance

Compulsory

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.