The course is intended to offer an overview of film theories, in relation to specific periods and topics.
Curriculum
teacher profile teaching materials
Laura Mulvey, “Alfred Hitchcock’s Vertigo” in Id., Afterimages. On Cinema, Women and Changing Times, London, Reaktion Books, 2018, pp. 40-56. p. 149
Laura Mulvey, “L’immobilità e la morte: Psyco di Alfred Hitchcock” in Id., Cinema e piacere visivo, cit., pp. 163-178. p. 159
Veronica Pravadelli, “Le teorie di Laura Mulvey e gli studi di cinema” in Id., Cinema e piacere visivo, cit., pp. 13-25. p. 167
Teresa de Lauretis, “Queer Theory. Lesbian and Gay Sexualities. An Introduction” differences. A journal of feminist cultural studies 3.2 (1991): iii-xviii. p. 174
M.A. Doane, “Caught and Rebecca: The Inscription of Femininity as Absence” in Constance Penley, ed., Feminism and Film Theory, New York, Routledge, 1988, pp. 196-215. p. 191
Tania Modleski, “La donna e il labirinto: Rebecca di Alfred Hitchcock” in Giuliana Bruno e Maria Nadotti, a cura di, Immagini allo schermo. La spettatrice e il cinema, Torino, Rosenberg & Sellier, 1991, pp. 43-61. p. 201
Patricia White, “Female Spectator, Lesbian Specter” in Id. Uninvited. Classical Hollywood Cinema and Lesbian Representability, Bloomington, Indiana UP, 1999, pp. 61-72. p. 211
Robin Wood, “The Murderous Gays: Hitchcock’s Homophobia” in Id. Hitchcock’s Films Revisited, New York, Columbia UP, 1989, pp. 336-357. p. 224
Alexander Doty, “Queer Hitchcock” in Thomas Leitch e Leland Poague, ed., A Companion to Alfred Hitchcock, Malden, MA, Wiley Blackwell, 2011, pp. 473-489. p. 235
D.A. Miller, “Anal Rope” Representations 32 (Fall 1990): 114-133. p. 251
Slavoj Žižek, “La macchia di Hitchcock” aut aut n. 293-294 (1999): 133-151. p. 272
Jacques Lacan, “Lo sguardo come oggetto a” in Id., Il seminario. Libro XI. I quattro concetti fondamentali della psicoanalisi, Torino, Einaudi, 1979, pp. 69-92. p. 282
Dylan Evans, “Imaginary”, “Symbolic”, “Real” in Id., An Introductory Dictionary to Lacanian Psychoanalysis, London, Routledge, 1996, pp. 84-5, 162-4, 203-4. p. 290
Mutuazione: 20709119-2 TEORIE DEL CINEMA E DEL FILM in Cinema, televisione e produzione multimediale LM-65 R PRAVADELLI VERONICA
Programme
In this module we will continue the historical trajectory of Hitchcock studies by looking at 1980s Feminist film theory and 1990s Queer studies. Then we will focus on the psychoanalytic interpretation of Slavoj Žižek. Later we will study the relation Hitchcock and/as philosophy and finally recent work on the writing process and Hitchcock's relation with screenwriters.Prerequisiti
The first module is highly recommended.Core Documentation
Veronica Pravadelli, "Il cinema è Hitchcock" Marsilio Venezia 2026Laura Mulvey, “Alfred Hitchcock’s Vertigo” in Id., Afterimages. On Cinema, Women and Changing Times, London, Reaktion Books, 2018, pp. 40-56. p. 149
Laura Mulvey, “L’immobilità e la morte: Psyco di Alfred Hitchcock” in Id., Cinema e piacere visivo, cit., pp. 163-178. p. 159
Veronica Pravadelli, “Le teorie di Laura Mulvey e gli studi di cinema” in Id., Cinema e piacere visivo, cit., pp. 13-25. p. 167
Teresa de Lauretis, “Queer Theory. Lesbian and Gay Sexualities. An Introduction” differences. A journal of feminist cultural studies 3.2 (1991): iii-xviii. p. 174
M.A. Doane, “Caught and Rebecca: The Inscription of Femininity as Absence” in Constance Penley, ed., Feminism and Film Theory, New York, Routledge, 1988, pp. 196-215. p. 191
Tania Modleski, “La donna e il labirinto: Rebecca di Alfred Hitchcock” in Giuliana Bruno e Maria Nadotti, a cura di, Immagini allo schermo. La spettatrice e il cinema, Torino, Rosenberg & Sellier, 1991, pp. 43-61. p. 201
Patricia White, “Female Spectator, Lesbian Specter” in Id. Uninvited. Classical Hollywood Cinema and Lesbian Representability, Bloomington, Indiana UP, 1999, pp. 61-72. p. 211
Robin Wood, “The Murderous Gays: Hitchcock’s Homophobia” in Id. Hitchcock’s Films Revisited, New York, Columbia UP, 1989, pp. 336-357. p. 224
Alexander Doty, “Queer Hitchcock” in Thomas Leitch e Leland Poague, ed., A Companion to Alfred Hitchcock, Malden, MA, Wiley Blackwell, 2011, pp. 473-489. p. 235
D.A. Miller, “Anal Rope” Representations 32 (Fall 1990): 114-133. p. 251
Slavoj Žižek, “La macchia di Hitchcock” aut aut n. 293-294 (1999): 133-151. p. 272
Jacques Lacan, “Lo sguardo come oggetto a” in Id., Il seminario. Libro XI. I quattro concetti fondamentali della psicoanalisi, Torino, Einaudi, 1979, pp. 69-92. p. 282
Dylan Evans, “Imaginary”, “Symbolic”, “Real” in Id., An Introductory Dictionary to Lacanian Psychoanalysis, London, Routledge, 1996, pp. 84-5, 162-4, 203-4. p. 290
Attendance
Attendance is strongly recommendedType of evaluation
Those who take the mid-term written exam will take an oral exam. Those who have not taken the mid-term will take a written exam for both modules. teacher profile teaching materials
Laura Mulvey, “Alfred Hitchcock’s Vertigo” in Id., Afterimages. On Cinema, Women and Changing Times, London, Reaktion Books, 2018, pp. 40-56. p. 149
Laura Mulvey, “L’immobilità e la morte: Psyco di Alfred Hitchcock” in Id., Cinema e piacere visivo, cit., pp. 163-178. p. 159
Veronica Pravadelli, “Le teorie di Laura Mulvey e gli studi di cinema” in Id., Cinema e piacere visivo, cit., pp. 13-25. p. 167
Teresa de Lauretis, “Queer Theory. Lesbian and Gay Sexualities. An Introduction” differences. A journal of feminist cultural studies 3.2 (1991): iii-xviii. p. 174
M.A. Doane, “Caught and Rebecca: The Inscription of Femininity as Absence” in Constance Penley, ed., Feminism and Film Theory, New York, Routledge, 1988, pp. 196-215. p. 191
Tania Modleski, “La donna e il labirinto: Rebecca di Alfred Hitchcock” in Giuliana Bruno e Maria Nadotti, a cura di, Immagini allo schermo. La spettatrice e il cinema, Torino, Rosenberg & Sellier, 1991, pp. 43-61. p. 201
Patricia White, “Female Spectator, Lesbian Specter” in Id. Uninvited. Classical Hollywood Cinema and Lesbian Representability, Bloomington, Indiana UP, 1999, pp. 61-72. p. 211
Robin Wood, “The Murderous Gays: Hitchcock’s Homophobia” in Id. Hitchcock’s Films Revisited, New York, Columbia UP, 1989, pp. 336-357. p. 224
Alexander Doty, “Queer Hitchcock” in Thomas Leitch e Leland Poague, ed., A Companion to Alfred Hitchcock, Malden, MA, Wiley Blackwell, 2011, pp. 473-489. p. 235
D.A. Miller, “Anal Rope” Representations 32 (Fall 1990): 114-133. p. 251
Slavoj Žižek, “La macchia di Hitchcock” aut aut n. 293-294 (1999): 133-151. p. 272
Jacques Lacan, “Lo sguardo come oggetto a” in Id., Il seminario. Libro XI. I quattro concetti fondamentali della psicoanalisi, Torino, Einaudi, 1979, pp. 69-92. p. 282
Dylan Evans, “Imaginary”, “Symbolic”, “Real” in Id., An Introductory Dictionary to Lacanian Psychoanalysis, London, Routledge, 1996, pp. 84-5, 162-4, 203-4. p. 290
Programme
In this module we will continue the historical trajectory of Hitchcock studies by looking at 1980s Feminist film theory and 1990s Queer studies. Then we will focus on the psychoanalytic interpretation of Slavoj Žižek. Later we will study the relation Hitchcock and/as philosophy and finally recent work on the writing process and Hitchcock's relation with screenwriters.Prerequisiti
The first module is highly recommended.Core Documentation
Veronica Pravadelli, "Il cinema è Hitchcock" Marsilio Venezia 2026Laura Mulvey, “Alfred Hitchcock’s Vertigo” in Id., Afterimages. On Cinema, Women and Changing Times, London, Reaktion Books, 2018, pp. 40-56. p. 149
Laura Mulvey, “L’immobilità e la morte: Psyco di Alfred Hitchcock” in Id., Cinema e piacere visivo, cit., pp. 163-178. p. 159
Veronica Pravadelli, “Le teorie di Laura Mulvey e gli studi di cinema” in Id., Cinema e piacere visivo, cit., pp. 13-25. p. 167
Teresa de Lauretis, “Queer Theory. Lesbian and Gay Sexualities. An Introduction” differences. A journal of feminist cultural studies 3.2 (1991): iii-xviii. p. 174
M.A. Doane, “Caught and Rebecca: The Inscription of Femininity as Absence” in Constance Penley, ed., Feminism and Film Theory, New York, Routledge, 1988, pp. 196-215. p. 191
Tania Modleski, “La donna e il labirinto: Rebecca di Alfred Hitchcock” in Giuliana Bruno e Maria Nadotti, a cura di, Immagini allo schermo. La spettatrice e il cinema, Torino, Rosenberg & Sellier, 1991, pp. 43-61. p. 201
Patricia White, “Female Spectator, Lesbian Specter” in Id. Uninvited. Classical Hollywood Cinema and Lesbian Representability, Bloomington, Indiana UP, 1999, pp. 61-72. p. 211
Robin Wood, “The Murderous Gays: Hitchcock’s Homophobia” in Id. Hitchcock’s Films Revisited, New York, Columbia UP, 1989, pp. 336-357. p. 224
Alexander Doty, “Queer Hitchcock” in Thomas Leitch e Leland Poague, ed., A Companion to Alfred Hitchcock, Malden, MA, Wiley Blackwell, 2011, pp. 473-489. p. 235
D.A. Miller, “Anal Rope” Representations 32 (Fall 1990): 114-133. p. 251
Slavoj Žižek, “La macchia di Hitchcock” aut aut n. 293-294 (1999): 133-151. p. 272
Jacques Lacan, “Lo sguardo come oggetto a” in Id., Il seminario. Libro XI. I quattro concetti fondamentali della psicoanalisi, Torino, Einaudi, 1979, pp. 69-92. p. 282
Dylan Evans, “Imaginary”, “Symbolic”, “Real” in Id., An Introductory Dictionary to Lacanian Psychoanalysis, London, Routledge, 1996, pp. 84-5, 162-4, 203-4. p. 290
Attendance
Attendance is strongly recommendedType of evaluation
Those who take the mid-term written exam will take an oral exam. Those who have not taken the mid-term will take a written exam for both modules.