The teaching of "Movements and authors of the cinema" is part of the training activities characterizing the master's degree course in "Cinema, television and multimedia production". Its intent is to deal with particularly significant periods, themes, styles, works and authors in the history of national and international cinema. The course aims to provide methodological tools and in-depth knowledge in the field of history and aesthetics, to stimulate the ability to critically confront the documental sources, and to acquire a skill in analyzing filmic texts.
Curriculum
teacher profile teaching materials
PROGRAM: The anthropological research of Ferreri between Spain, Italy, France, Usa, Africa. From the Spanish debut, between neorealism and esperpento, to the postmodern representations of the 90s. Forms of narration and forms of representation. The "catalog" of images, bodies, masks and places. Phenomenology of the grotesque body. Dynamics of the feminine and the masculine. The destruction of the "historical man" and the search for the "physiological man". Ferreri's work with the actors.
FILMOGRAPHY: El cochecito (1960), La donna scimmia (1964), L’harem (1967), Break-up/L’uomo dei palloni (1963-1968), Dillinger è morto (1969), La grande abbuffata (1973), Non toccare la donna bianca (1974), Ciao maschio (1978), Chiedo asilo (1979), Storia di Piera (1983), Diario di un vizio (1993), Nitrato d’argento (1996). The films will be projected entirely or partially during the lessons. Copies on DVD are available at the "Lino Miccichè" Library, Via Ostiense, 139.
Mutuazione: 20702665 MOVIMENTI E AUTORI DEL CINEMA in Cinema, televisione e produzione multimediale LM-65 R (docente da definire)
Programme
GOALS: The course aims to address the figure and the work of Ferreri in the context of italian and international cinema.PROGRAM: The anthropological research of Ferreri between Spain, Italy, France, Usa, Africa. From the Spanish debut, between neorealism and esperpento, to the postmodern representations of the 90s. Forms of narration and forms of representation. The "catalog" of images, bodies, masks and places. Phenomenology of the grotesque body. Dynamics of the feminine and the masculine. The destruction of the "historical man" and the search for the "physiological man". Ferreri's work with the actors.
Core Documentation
TEXTS: Maurizio Grande, Marco Ferreri, edited by Alessandro Canadè, Bulzoni, Roma 2016; Alberto Scandola, Marco Ferreri, Il Castoro Cinema, Milano 2004 (available on https://univr.academia.edu/AlbertoScandola).FILMOGRAPHY: El cochecito (1960), La donna scimmia (1964), L’harem (1967), Break-up/L’uomo dei palloni (1963-1968), Dillinger è morto (1969), La grande abbuffata (1973), Non toccare la donna bianca (1974), Ciao maschio (1978), Chiedo asilo (1979), Storia di Piera (1983), Diario di un vizio (1993), Nitrato d’argento (1996). The films will be projected entirely or partially during the lessons. Copies on DVD are available at the "Lino Miccichè" Library, Via Ostiense, 139.
Attendance
Attendance at the course is strogly recommendedType of evaluation
EXAM: Oral. Students have the opportunity to present an in-depth text on a topic covered during the course. The text should be about 20,000 characters and will be considered supplementary, not substitutive, of the oral exam. It must be delivered to the teacher 15 days before the exam session. teacher profile teaching materials
PROGRAM: The anthropological research of Ferreri between Spain, Italy, France, Usa, Africa. From the Spanish debut, between neorealism and esperpento, to the postmodern representations of the 90s. Forms of narration and forms of representation. The "catalog" of images, bodies, masks and places. Phenomenology of the grotesque body. Dynamics of the feminine and the masculine. The destruction of the "historical man" and the search for the "physiological man". Ferreri's work with the actors.
FILMOGRAPHY: El cochecito (1960), La donna scimmia (1964), L’harem (1967), Break-up/L’uomo dei palloni (1963-1968), Dillinger è morto (1969), La grande abbuffata (1973), Non toccare la donna bianca (1974), Ciao maschio (1978), Chiedo asilo (1979), Storia di Piera (1983), Diario di un vizio (1993), Nitrato d’argento (1996). The films will be projected entirely or partially during the lessons. Copies on DVD are available at the "Lino Miccichè" Library, Via Ostiense, 139.
Programme
GOALS: The course aims to address the figure and the work of Ferreri in the context of italian and international cinema.PROGRAM: The anthropological research of Ferreri between Spain, Italy, France, Usa, Africa. From the Spanish debut, between neorealism and esperpento, to the postmodern representations of the 90s. Forms of narration and forms of representation. The "catalog" of images, bodies, masks and places. Phenomenology of the grotesque body. Dynamics of the feminine and the masculine. The destruction of the "historical man" and the search for the "physiological man". Ferreri's work with the actors.
Core Documentation
TEXTS: Maurizio Grande, Marco Ferreri, edited by Alessandro Canadè, Bulzoni, Roma 2016; Alberto Scandola, Marco Ferreri, Il Castoro Cinema, Milano 2004 (available on https://univr.academia.edu/AlbertoScandola).FILMOGRAPHY: El cochecito (1960), La donna scimmia (1964), L’harem (1967), Break-up/L’uomo dei palloni (1963-1968), Dillinger è morto (1969), La grande abbuffata (1973), Non toccare la donna bianca (1974), Ciao maschio (1978), Chiedo asilo (1979), Storia di Piera (1983), Diario di un vizio (1993), Nitrato d’argento (1996). The films will be projected entirely or partially during the lessons. Copies on DVD are available at the "Lino Miccichè" Library, Via Ostiense, 139.
Attendance
Attendance at the course is strogly recommendedType of evaluation
EXAM: Oral. Students have the opportunity to present an in-depth text on a topic covered during the course. The text should be about 20,000 characters and will be considered supplementary, not substitutive, of the oral exam. It must be delivered to the teacher 15 days before the exam session.