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Movements and Authors of International Cinema Single discipline educational activity
Course Sheet Academic Year of enrolment:
Disciplinary Sector:
Cinema, Photography and Television
Professor and Collaborators:
Hours of classroom activity:
Objectives
Contents Contents
Renewal
and experimentation in international cinema: from the
masterships of Italian Neorealism through the western “New Waves”.
Through the analysis of exemplary movies, framed in the age of their
realization, the salient formal and thematic features of Nouvelle Vague
(France),
Free Cinema (UK), US Avantgarde Cinema, New American
Cinema
(USA), Neue Welle (Germany) will be studied within the
international
context of the foremost film criticism and theory.
Extended Syllabus Extended syllabus
Starting
from the mastership of Italian Neorealism, the following
movements
will be explored: Nouvelle Vague, Free Cinema, US
Avantgarde Cinema, New American Cinema, Neue Welle, all exemplary
currents
of
the
so-called
New
International
Cinema,
a
crucial
phenomenon
of
renewal
in
the
history
of
cinema.
The course will investigate the main elements shared by the national
cinemas under investigation, such as: the Neorealist mastership, the role
of film magazines, the production strategies, the issue of authorship; as
well as the distinctive traits of the national cinemas under study, together
with their possible interrelationships and mutual influences. Futhermore,
this course aims to develop an informed understanding of the cinematic
practices under examination, through the analysis of stylistic-formal and
thematic motifs of the selected movies, as well as through the scrutiny of
critical and theoretical arguments by prominent authors and scholars.
Course readings and discussions of the screened movies will develop the
students’ skills in audiovisual analysis and research, as well as their
facility with the pertinent terminology of cinema studies, and the study of
audiovisual texts.
During the course additional materials to allow for more in-depth studies
may be referenced.
Useful
information will also be given to students of other Degree
Programs.
Recommended Bibliography Reference Texts
FILMS:
R. Rossellini, Germania anno zero, Paisà; V. De Sica, Ladri di biciclette; L.
Visconti, La terra trema; F. Truffaut, Les Mistons, I quattrocento colpi; J.-L.
Godard, Fino all’ultimo respiro; L. Anderson, O’ Dreamland, Everyday
Except Christmas; T. Richardson e K. Reisz, Momma don’t Allow; K. Reisz,
We are the Lambeth Boys, Sabato sera, domenica mattina; M. Deren:
Meshes of the Afternoon, At Land, A Study in Choreography for Camera,
Ritual in Transfigured Time, Meditation on Violence, The Very Eye of
Night; J. Cassavetes, Ombre; R. Frank e A. Leslie, Pull my Daisy; J. Mekas,
Guns of the Trees; W. Wenders, Alice nelle città, Falso movimento, Nel
corso del tempo; H. Sanders-Brahms, Germania, pallida madre
BOOKS:
P. Bertetto (edited by), Introduzione alla storia del cinema. Autori, film,
correnti, UTET, Torino 2012
A.Trivelli, L’altra metà dello sguardo, Bulzoni, Roma 1998
Leonardo Gandini, Cinema e regia, Carocci editore, Roma 2006
NOT ATTENDING-STUDENTS AND STUDENTS WHO HAVE NOT REGULARLY
ATTENDED THE LESSONS ARE INVITED TO READ: "FURTHER INFORMATION"
Teaching Methods Teaching methods
1) lectures; 2) discussion of the selected audiovisual materials (feature,
experimental and documentary films) shown in class. Course readings
and discussions of the screened movies will develop the students’ skills in
audiovisual analysis and research, as well as their facility with the
pertinent terminology of cinema studies, and the study of audiovisual
texts. The screenings are in the original language with Italian subtitles
Evaluation methods Verification of learning:
Assessment methods
An oral examination in the form of an interview will assess whether the
student has mastered the course content.
Grades run from 18 through 30/30.
Excellent (27-30/30) will be awarded to those students who achieve a
comprehensive understanding of the course content and are able to
articulate a specific and original vision of their own, that reflects both a
solid proficiency in the analytic vocabulary of cinema studies, as well as
in the different cinematic movements and movies that were examined.
Good
(22-26/30) will be awarded to those students showing some
knowledge of the course content, but who are unable to fully articulate a
synthesis of all the materials, as well as fully develop a sophisticated
analysis,
and use a correct but not always appropriate analytic
vocabulary
of cinema studies.
Satisfactory (18-21/30) will be awarded to those students showing a basic
knowledge of the course content and a supeficial understanding of the
different
cinematic movements and movies studied, as well as an
inaccurate
analytic vocabulary of cinema studies.
Insufficient
(under
18/30)
will
be
awarded
to
those
students
demonstrating an insufficient grasp of the course content, an inaccurate
analytic vocabulary of cinema studies, a lack of profiency regarding the
different cinematic movements and movies examined, and an inability to
analyse them.
Contacts/More Information Further information
Attending the class sessions is recommended; the examination method
will be the same both for attending and not-attending students. The
viewing
of all movies listed in the filmography is required for the
examination. STUDENTS OF OTHER DEGREE PROGRAMS ARE ADVISED TO
CONTACT THE PROFESSOR BEFORE THE BEGINNING OF THE COURSE,
AND IN ANY CASE WELL IN ADVANCE OF THE EXAMINATION DATE.
NOT ATTENDING-STUDENTS AND STUDENTS WHO HAVE NOT REGULARLY
ATTENDED THE LESSONS ARE ADVISED TO CONTACT THE PROFESSOR
WELL IN ADVANCE OF THE EXAMINATION DATE. THEY SHALL INTEGRATE
THE COURSE FILMS AND TEXTS OF THE SYLLABUS WITH THE FOLLOWING
ADDITIONAL BOOK: David Bordwell, Kristin Thompson, Storia del cinema.
Un’introduzione, Italian release edited by David Bruni and Elena Mosconi,
McGraw Hill, Milano 2010; Marco Bertozzi, Documentario come arte.
Riuso,
performance,
autobiografia
nell’esperienza
del
cinema
contemporaneo,
Marsilio,
Venezia
2018.
Not-attending students are advised to contact the professor well in
advance of the examination date.
Attending students and who successfully passed the course examination
are eligible for accreditation of Venice and Pesaro film festivals.
Furthermore,
the professor will give information about artistic and
cultural events occuring in our city/region/nation of particular relevance
to the course objectives. This information will be readly disseminated via
facebook as well (storia e critica del cinema UdA).
For any question students are invited to meet with the professor during
her office hours.