The course is part of the mandatory classes for the Film and Media Studies program of the DAMS BA. If the program generally gives the historical and theoretical background to understand all audiovisual forms, the aim of this class (dedicated to first-year students) is to teach the main frameworks for the analysis and interpretation of film and audiovisual texts. The class opts for a historical perspective, which accounts for the different theories, aesthetics, and cultural models involved in the analysis of the various linguistic solutions, film styles and forms from different moments in film history (i.e., classical Hollywood cinema, modern art cinema, postmodernism, post-classic cinema). The course aims to give to its students the framework needed to understand by themselves which modes of analysis are more effective in considering a specific audiovisual text. In conclusion, the class aims to explain how films and images produce their meaning.
Canali
teacher profile teaching materials
The final syllabus and program will be published at the beginning of the course.
Collection of essays edited by the teacher.
During the course, a selection of films for independent and compulsory full viewing will be drawn from those analyzed in the volume La grande Hollywood.
Programme
The course addresses film narrative and stylistic forms, from classic Hollywood to contemporary cinema. Through the analysis of specific sequences and films, the course addresses classic cinema from the 1930s, the melodramatic style from the 1950s, film modernity (in particular Italian art film from the 1960s), postmodern cinema, postclassic films, mind-game films, and "global films". The last part of the course is dedicated to complex and vast narratives, especially television series. The film analysis will be conducted through various methods and approaches. Among them: structuralism and semiotics, formal analysis and style, psychoanalysis, feminist film theory. Cultural studies and approaches will be considered in order to address modernity, postmodernism, and contemporary mediascapes.The final syllabus and program will be published at the beginning of the course.
Prerequisiti
No oneCore Documentation
Veronica Pravadelli, La grande Hollywood. Stili di vita e di regia nel cinema classico americano, Marsilio, Venezia 2007. ENGLISH EDITION Classic Hollywood: Lifestyles and Film Styles of American Cinema, 1930-1960, University of Illinois Press, 2014.Collection of essays edited by the teacher.
During the course, a selection of films for independent and compulsory full viewing will be drawn from those analyzed in the volume La grande Hollywood.
Reference Bibliography
Other bibliographic references can be suggested during classes.Type of delivery of the course
42 hours of frontal lessonsAttendance
The course will be held in presence; attendance is suggested but not mandatory.Type of evaluation
The exam is written and composed by a few open questions. The questions will focus on the main analytic frames described during class and will ask for visual examples from the case studies proposed by the filmography, as well as for explaining the main theoretical issues addressed during the lessons and in the bibliography. teacher profile teaching materials
the Americana version: Veronica Pravadelli Classic Hollywood. Lifestyles and Film Styles of American Cinema 1930-1960 Urbana, university of Illinois press, 2015.
Antologia di saggi a cura delle docenti reperibile presso la Copisteria “4 Appunti”, Via Gabriello Chiabrera, 174, tel. 06 5960 5579, 4appunti@gmail.com. Per motivi legati ai diritti d’autore, i testi qui elencati non potranno essere forniti in formato digitale dalla docente.
• Giaime Alonge e Silvio Alovisio, “Glossario” in Introduzione alla storia del cinema, a cura di P. Bertetto, UTET, Torino 2012, pp. 194-199.
• David Bordwell e Kristin Thompson, Cinema come arte. Teoria e prassi del film, Il Castoro, Milano 2006, pp. 223-241, 248-259, 271-329, 352-355 e 365-369.
• Raymond Bellour, “L’evidenza e il codice”, in L'analisi del film, Kaplan, Torino 2005, pp. 100-106.
• Sigmund Freud, “Il tramonto del complesso edipico” (1924), “Alcune conseguenze psichiche della differenza anatomica tra i sessi” (1925) e “La femminilità” (1932), in Scritti sulla sessualità femminile, Bollati Boringhieri, Torino 1969, pp. 15-22, 23-35 e 61-88.
• Laura Mulvey, “Piacere visivo e cinema narrativo” (1975) e “Riflessioni su Piacere visivo e cinema narrativo ispirate da Duello al sole” (1981), in Cinema e piacere visivo, a cura di Veronica Pravadelli, Bulzoni, Roma 2013, pp. 29-44 e 45-55.
Filmografia
A selection of films discussed in "La grande Hollywood"
Programme
The course focuses on Hollywood cinema from 1930 to 1960 and studies the transfromations of the filmic form through the concept of mode of representation, that is, the convergence of film language with the cinematic imaginary.Prerequisiti
No pre-requisitesCore Documentation
Veronica Pravadelli, La grande Hollywood. Stili di vita e di regia nel cinema classico americano, Marsilio, Venezia 2007, e succ. ed. ORthe Americana version: Veronica Pravadelli Classic Hollywood. Lifestyles and Film Styles of American Cinema 1930-1960 Urbana, university of Illinois press, 2015.
Antologia di saggi a cura delle docenti reperibile presso la Copisteria “4 Appunti”, Via Gabriello Chiabrera, 174, tel. 06 5960 5579, 4appunti@gmail.com. Per motivi legati ai diritti d’autore, i testi qui elencati non potranno essere forniti in formato digitale dalla docente.
• Giaime Alonge e Silvio Alovisio, “Glossario” in Introduzione alla storia del cinema, a cura di P. Bertetto, UTET, Torino 2012, pp. 194-199.
• David Bordwell e Kristin Thompson, Cinema come arte. Teoria e prassi del film, Il Castoro, Milano 2006, pp. 223-241, 248-259, 271-329, 352-355 e 365-369.
• Raymond Bellour, “L’evidenza e il codice”, in L'analisi del film, Kaplan, Torino 2005, pp. 100-106.
• Sigmund Freud, “Il tramonto del complesso edipico” (1924), “Alcune conseguenze psichiche della differenza anatomica tra i sessi” (1925) e “La femminilità” (1932), in Scritti sulla sessualità femminile, Bollati Boringhieri, Torino 1969, pp. 15-22, 23-35 e 61-88.
• Laura Mulvey, “Piacere visivo e cinema narrativo” (1975) e “Riflessioni su Piacere visivo e cinema narrativo ispirate da Duello al sole” (1981), in Cinema e piacere visivo, a cura di Veronica Pravadelli, Bulzoni, Roma 2013, pp. 29-44 e 45-55.
Filmografia
A selection of films discussed in "La grande Hollywood"
Attendance
a good part of meetings are dedicated to film analysis. Therefore attendance is strongly recommended.Type of evaluation
Written exam on the main topics discussed