The educational objectives of the course include a chronological knowledge of the history of documentary cinema in such a way that the student can move comfortably through authoritative paths, movements, aesthetic forms of a genre scarcely studied in the preparatory courses of cinema history. In addition, from year to year, the course will focus on a specific theme, proposing a moment of deepening and analysis. A further objective of the course is to bring the student into contact with the professionals of the sector, through the organization of periodic projections of documentaries followed by meetings with the authors.
scheda docente
materiale didattico
Dispense a cura della docente.
Dispense a cura della docente caricate su Moodle all’inizio del corso.
FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.
Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Dziga Vertov, Tre canti su Lenin (1934)
Henry Watt-Basil Wright, Night Mail (1936)
Luciano Emmer, Racconto da un affresco (1938)
L.Visconti, M.Serandrei, M.Pagliero, G. De Santis, Giorni di gloria (1945)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
Lorenza Mazzetti, Together (1956)
Lindsay Anderson, O, Dreamland (1953)
Linsday Anderson, Every Day Except Christmas (1957)
Jean Rouch-Edgar Morin, Chronique d'une été (1962)
Chris Marker, Sans Soleil (1982)
Jay Rosenblatt, The smell of the burning ants (1994)
Alina Marazzi, Un'ora sola ti vorrei (2012)
Firouzeh Kosrovani, Radiograph of a Family (2020)
Giovanni Veronesi, La valanga azzurra, (2024)
Mutuazione: 20702644 CINEMATOGRAFIA DOCUMENTARIA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 R N0 PERNIOLA IVELISE
Programma
The educational objectives of the course include a chronological knowledge of the history of documentary cinema in such a way that the student can move comfortably through authoritative paths, movements, aesthetic forms of a genre scarcely studied in the preparatory courses of cinema history. In addition, from year to year, the course will focus on a specific theme, proposing a moment of deepening and analysis. A further objective of the course is to bring the student into contact with the professionals of the sector, through the organization of periodic projections of documentaries followed by meetings with the authors.Testi Adottati
Carlo Alberto Pinelli, Professione documentarista: storia e pratiche di una passione, Edizioni Sabinae, Roma, 2017.Dispense a cura della docente.
Dispense a cura della docente caricate su Moodle all’inizio del corso.
FILMOGRAFIA OBBLIGATORIA: La filmografia è suscettibile di variazioni.
Robert Flaherty, Nanook of the North (1922)
Joris Ivens, Regen (1929)
Dziga Vertov, Tre canti su Lenin (1934)
Henry Watt-Basil Wright, Night Mail (1936)
Luciano Emmer, Racconto da un affresco (1938)
L.Visconti, M.Serandrei, M.Pagliero, G. De Santis, Giorni di gloria (1945)
Vittorio De Seta, Lu tempu de li pisci spata (1954)
Lorenza Mazzetti, Together (1956)
Lindsay Anderson, O, Dreamland (1953)
Linsday Anderson, Every Day Except Christmas (1957)
Jean Rouch-Edgar Morin, Chronique d'une été (1962)
Chris Marker, Sans Soleil (1982)
Jay Rosenblatt, The smell of the burning ants (1994)
Alina Marazzi, Un'ora sola ti vorrei (2012)
Firouzeh Kosrovani, Radiograph of a Family (2020)
Giovanni Veronesi, La valanga azzurra, (2024)
Modalità Frequenza
The course includes lectures and attendance, since during the lessons works will be analysed in detail from the aesthetic and thematic point of view. Lessons streaming but not recorded. Meetings with authors will not be streamed.Modalità Valutazione
Oral examination. The exam will take place orally on the study of the entire exam program (including texts and filmography).