The course is intended to offer an overview of film theories, in relation to specific periods and topics.
Curriculum
teacher profile teaching materials
The course focuses on classical American cinema from the early 1930's to the late 1950s by combining film theory and film analysis. Our approach fuses theory and history in the attempt to question the dominant discourse on the "classical", in particular David Bordwell's influential perspective. Our aim is to propose an alternative perspective on the notion of the "classical" in the age of the studio system.
Sigmund Freud, Scritti sulla sessualità femminile, Torino, Bollati Boringhieri, 1976 e succ. ed.
Veronica Pravadelli, La grande Hollywood. Stili di vita e di regia nel cinema classico americano, III ed., Venezia, Marsilio, 2018 OPPURE V.P., Classic Hollywood. Lifestyles and Film Styles of American Cinema, 1930-1960, Urbana, University of Illinois Press, 2015.
R. Bellour, “L’evidenza e il codice” in Id., L'analisi del film, Torino, Kaplan, 2005.
S. Greenblatt, “La circolazione dell’energia sociale” (1988), in Il neostoricismo, a cura di V. Fortunati e G. Franci, Modena, Mucchi, 1995, pp. 81-106.
V. Pravadelli, “Introduction. Classical Hollywood Cinema and Film Studies,” in Classic Hollywood.
Lifestyles and Film Styles of American Cinema, 1930-1960, Urbana, University of Illinois Press,
2015, pp. 1-20.
P. Bertetto, “L’immaginario cinematografico: forme e meccanismo,” in Enciclopedia del cinema, vol. I, Roma, Istituto dell’Enciclopedia Italiana, 2003, pp. 62-78.
D. Bordwell, “The Classical Hollywood Style, 1917-1960,” in The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, ed. by D. Bordwell, J. Steiger e K. Thompson, New York, Columbia University Press, 1985, pp. 12-23, 50-66.
D. Polan, Power and Paranoia. History, Narrative and the American Cinema, 1940-1950, New York, Columbia University Press, 1986 (estratto).
R. Altman, “Dickens, Griffith, and film Theory Today,” in Classical Hollywood Narrative: The
Paradigm Wars, ed. by J. Gaines, Durham (NC), Duke University Press, 1992, pp. 9-47.
J. Crary, Le tecniche dell’osservatore. Visione e modernità nel XIX secolo (1990), Torino, Einaudi,
2013, pp. 3-28.
T. Elsaesser, “Storie di rumore e di furore. Osservazioni sul melodramma familiare,” in Forme del
melodramma, a cura di A. Pezzotta, Roma, Bulzoni, 1992, pp. 65-109.
L.Williams, “Film Bodies: Gender, Genre, and Excess,” in Film Theory and Criticism, ed. by L.
Braudy e M. Cohen, Oxford-New York, Oxford University Press, 2009 (7th edition), pp. 602-616.
R. Altman, “Un approccio semantico-sintattico al genere cinematografico,” in Id., Film/Genere,
Milano, Vita & Pensiero, 2004, pp. 327-343.
C. Metz, “Storia/Discorso. Nota su due voyeurismi,” in Id., Cinema e psicoanalisi, Venezia, Marsilio,1980, pp. 97-103.
Laura Mulvey, “Piacere visivo e cinema narrativo” e “Riflessioni su ‘Piacere visivo e cinema narrativo’ ispirate da Duello al sole” in Id. Cinema e piacere visivo, a cura di V. Pravadelli, Roma, Bulzoni, 2013.
Films:
J. Von Sternberg, Blonde Venus (1932), H. Hawks, Only Angels Have Wings (1939), I. Rapper, Now, Voyager (1942), M. Curtiz, Mildred Pierce (1945), D. Daves, Dark Passage (1947), S. Donen - G. Kelly, Singin’ in the Rain (1952)., D. Sirk, Written on the Wind (1956).
Mutuazione: 20709119-2 TEORIE DEL CINEMA E DEL FILM in Cinema, televisione e produzione multimediale LM-65 PRAVADELLI VERONICA
Programme
Classical American Cinema and Film Theory.The course focuses on classical American cinema from the early 1930's to the late 1950s by combining film theory and film analysis. Our approach fuses theory and history in the attempt to question the dominant discourse on the "classical", in particular David Bordwell's influential perspective. Our aim is to propose an alternative perspective on the notion of the "classical" in the age of the studio system.
Core Documentation
Required Texts:Sigmund Freud, Scritti sulla sessualità femminile, Torino, Bollati Boringhieri, 1976 e succ. ed.
Veronica Pravadelli, La grande Hollywood. Stili di vita e di regia nel cinema classico americano, III ed., Venezia, Marsilio, 2018 OPPURE V.P., Classic Hollywood. Lifestyles and Film Styles of American Cinema, 1930-1960, Urbana, University of Illinois Press, 2015.
R. Bellour, “L’evidenza e il codice” in Id., L'analisi del film, Torino, Kaplan, 2005.
S. Greenblatt, “La circolazione dell’energia sociale” (1988), in Il neostoricismo, a cura di V. Fortunati e G. Franci, Modena, Mucchi, 1995, pp. 81-106.
V. Pravadelli, “Introduction. Classical Hollywood Cinema and Film Studies,” in Classic Hollywood.
Lifestyles and Film Styles of American Cinema, 1930-1960, Urbana, University of Illinois Press,
2015, pp. 1-20.
P. Bertetto, “L’immaginario cinematografico: forme e meccanismo,” in Enciclopedia del cinema, vol. I, Roma, Istituto dell’Enciclopedia Italiana, 2003, pp. 62-78.
D. Bordwell, “The Classical Hollywood Style, 1917-1960,” in The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, ed. by D. Bordwell, J. Steiger e K. Thompson, New York, Columbia University Press, 1985, pp. 12-23, 50-66.
D. Polan, Power and Paranoia. History, Narrative and the American Cinema, 1940-1950, New York, Columbia University Press, 1986 (estratto).
R. Altman, “Dickens, Griffith, and film Theory Today,” in Classical Hollywood Narrative: The
Paradigm Wars, ed. by J. Gaines, Durham (NC), Duke University Press, 1992, pp. 9-47.
J. Crary, Le tecniche dell’osservatore. Visione e modernità nel XIX secolo (1990), Torino, Einaudi,
2013, pp. 3-28.
T. Elsaesser, “Storie di rumore e di furore. Osservazioni sul melodramma familiare,” in Forme del
melodramma, a cura di A. Pezzotta, Roma, Bulzoni, 1992, pp. 65-109.
L.Williams, “Film Bodies: Gender, Genre, and Excess,” in Film Theory and Criticism, ed. by L.
Braudy e M. Cohen, Oxford-New York, Oxford University Press, 2009 (7th edition), pp. 602-616.
R. Altman, “Un approccio semantico-sintattico al genere cinematografico,” in Id., Film/Genere,
Milano, Vita & Pensiero, 2004, pp. 327-343.
C. Metz, “Storia/Discorso. Nota su due voyeurismi,” in Id., Cinema e psicoanalisi, Venezia, Marsilio,1980, pp. 97-103.
Laura Mulvey, “Piacere visivo e cinema narrativo” e “Riflessioni su ‘Piacere visivo e cinema narrativo’ ispirate da Duello al sole” in Id. Cinema e piacere visivo, a cura di V. Pravadelli, Roma, Bulzoni, 2013.
Films:
J. Von Sternberg, Blonde Venus (1932), H. Hawks, Only Angels Have Wings (1939), I. Rapper, Now, Voyager (1942), M. Curtiz, Mildred Pierce (1945), D. Daves, Dark Passage (1947), S. Donen - G. Kelly, Singin’ in the Rain (1952)., D. Sirk, Written on the Wind (1956).
Type of delivery of the course
In-class and on-line teaching in accordance with Roma tre's policies.Type of evaluation
Written exam consisting of a few essay questions. teacher profile teaching materials
The course focuses on classical American cinema from the early 1930's to the late 1950s by combining film theory and film analysis. Our approach fuses theory and history in the attempt to question the dominant discourse on the "classical", in particular David Bordwell's influential perspective. Our aim is to propose an alternative perspective on the notion of the "classical" in the age of the studio system.
Sigmund Freud, Scritti sulla sessualità femminile, Torino, Bollati Boringhieri, 1976 e succ. ed.
Veronica Pravadelli, La grande Hollywood. Stili di vita e di regia nel cinema classico americano, III ed., Venezia, Marsilio, 2018 OPPURE V.P., Classic Hollywood. Lifestyles and Film Styles of American Cinema, 1930-1960, Urbana, University of Illinois Press, 2015.
R. Bellour, “L’evidenza e il codice” in Id., L'analisi del film, Torino, Kaplan, 2005.
S. Greenblatt, “La circolazione dell’energia sociale” (1988), in Il neostoricismo, a cura di V. Fortunati e G. Franci, Modena, Mucchi, 1995, pp. 81-106.
V. Pravadelli, “Introduction. Classical Hollywood Cinema and Film Studies,” in Classic Hollywood.
Lifestyles and Film Styles of American Cinema, 1930-1960, Urbana, University of Illinois Press,
2015, pp. 1-20.
P. Bertetto, “L’immaginario cinematografico: forme e meccanismo,” in Enciclopedia del cinema, vol. I, Roma, Istituto dell’Enciclopedia Italiana, 2003, pp. 62-78.
D. Bordwell, “The Classical Hollywood Style, 1917-1960,” in The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, ed. by D. Bordwell, J. Steiger e K. Thompson, New York, Columbia University Press, 1985, pp. 12-23, 50-66.
D. Polan, Power and Paranoia. History, Narrative and the American Cinema, 1940-1950, New York, Columbia University Press, 1986 (estratto).
R. Altman, “Dickens, Griffith, and film Theory Today,” in Classical Hollywood Narrative: The
Paradigm Wars, ed. by J. Gaines, Durham (NC), Duke University Press, 1992, pp. 9-47.
J. Crary, Le tecniche dell’osservatore. Visione e modernità nel XIX secolo (1990), Torino, Einaudi,
2013, pp. 3-28.
T. Elsaesser, “Storie di rumore e di furore. Osservazioni sul melodramma familiare,” in Forme del
melodramma, a cura di A. Pezzotta, Roma, Bulzoni, 1992, pp. 65-109.
L.Williams, “Film Bodies: Gender, Genre, and Excess,” in Film Theory and Criticism, ed. by L.
Braudy e M. Cohen, Oxford-New York, Oxford University Press, 2009 (7th edition), pp. 602-616.
R. Altman, “Un approccio semantico-sintattico al genere cinematografico,” in Id., Film/Genere,
Milano, Vita & Pensiero, 2004, pp. 327-343.
C. Metz, “Storia/Discorso. Nota su due voyeurismi,” in Id., Cinema e psicoanalisi, Venezia, Marsilio,1980, pp. 97-103.
Laura Mulvey, “Piacere visivo e cinema narrativo” e “Riflessioni su ‘Piacere visivo e cinema narrativo’ ispirate da Duello al sole” in Id. Cinema e piacere visivo, a cura di V. Pravadelli, Roma, Bulzoni, 2013.
Films:
J. Von Sternberg, Blonde Venus (1932), H. Hawks, Only Angels Have Wings (1939), I. Rapper, Now, Voyager (1942), M. Curtiz, Mildred Pierce (1945), D. Daves, Dark Passage (1947), S. Donen - G. Kelly, Singin’ in the Rain (1952)., D. Sirk, Written on the Wind (1956).
Programme
Classical American Cinema and Film Theory.The course focuses on classical American cinema from the early 1930's to the late 1950s by combining film theory and film analysis. Our approach fuses theory and history in the attempt to question the dominant discourse on the "classical", in particular David Bordwell's influential perspective. Our aim is to propose an alternative perspective on the notion of the "classical" in the age of the studio system.
Core Documentation
Required Texts:Sigmund Freud, Scritti sulla sessualità femminile, Torino, Bollati Boringhieri, 1976 e succ. ed.
Veronica Pravadelli, La grande Hollywood. Stili di vita e di regia nel cinema classico americano, III ed., Venezia, Marsilio, 2018 OPPURE V.P., Classic Hollywood. Lifestyles and Film Styles of American Cinema, 1930-1960, Urbana, University of Illinois Press, 2015.
R. Bellour, “L’evidenza e il codice” in Id., L'analisi del film, Torino, Kaplan, 2005.
S. Greenblatt, “La circolazione dell’energia sociale” (1988), in Il neostoricismo, a cura di V. Fortunati e G. Franci, Modena, Mucchi, 1995, pp. 81-106.
V. Pravadelli, “Introduction. Classical Hollywood Cinema and Film Studies,” in Classic Hollywood.
Lifestyles and Film Styles of American Cinema, 1930-1960, Urbana, University of Illinois Press,
2015, pp. 1-20.
P. Bertetto, “L’immaginario cinematografico: forme e meccanismo,” in Enciclopedia del cinema, vol. I, Roma, Istituto dell’Enciclopedia Italiana, 2003, pp. 62-78.
D. Bordwell, “The Classical Hollywood Style, 1917-1960,” in The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, ed. by D. Bordwell, J. Steiger e K. Thompson, New York, Columbia University Press, 1985, pp. 12-23, 50-66.
D. Polan, Power and Paranoia. History, Narrative and the American Cinema, 1940-1950, New York, Columbia University Press, 1986 (estratto).
R. Altman, “Dickens, Griffith, and film Theory Today,” in Classical Hollywood Narrative: The
Paradigm Wars, ed. by J. Gaines, Durham (NC), Duke University Press, 1992, pp. 9-47.
J. Crary, Le tecniche dell’osservatore. Visione e modernità nel XIX secolo (1990), Torino, Einaudi,
2013, pp. 3-28.
T. Elsaesser, “Storie di rumore e di furore. Osservazioni sul melodramma familiare,” in Forme del
melodramma, a cura di A. Pezzotta, Roma, Bulzoni, 1992, pp. 65-109.
L.Williams, “Film Bodies: Gender, Genre, and Excess,” in Film Theory and Criticism, ed. by L.
Braudy e M. Cohen, Oxford-New York, Oxford University Press, 2009 (7th edition), pp. 602-616.
R. Altman, “Un approccio semantico-sintattico al genere cinematografico,” in Id., Film/Genere,
Milano, Vita & Pensiero, 2004, pp. 327-343.
C. Metz, “Storia/Discorso. Nota su due voyeurismi,” in Id., Cinema e psicoanalisi, Venezia, Marsilio,1980, pp. 97-103.
Laura Mulvey, “Piacere visivo e cinema narrativo” e “Riflessioni su ‘Piacere visivo e cinema narrativo’ ispirate da Duello al sole” in Id. Cinema e piacere visivo, a cura di V. Pravadelli, Roma, Bulzoni, 2013.
Films:
J. Von Sternberg, Blonde Venus (1932), H. Hawks, Only Angels Have Wings (1939), I. Rapper, Now, Voyager (1942), M. Curtiz, Mildred Pierce (1945), D. Daves, Dark Passage (1947), S. Donen - G. Kelly, Singin’ in the Rain (1952)., D. Sirk, Written on the Wind (1956).
Type of delivery of the course
In-class and on-line teaching in accordance with Roma tre's policies.Type of evaluation
Written exam consisting of a few essay questions.