27104 - Film Analysis

Learning outcomes

The course aims to provide the specific knowledge to confront the main issues of film analysis from the origins to the present-day. A basic cultural competence allowing a critical analysis of films from a thematic and stylistic viewpoint, built on pinpointing the very filmic procedures. Therefore a participation to the course is recommended to all who are interested in film-study from the viewpoint of professionals in the field of cinema critique and audio-visual authoring.

Course contents

SYLLABUS

“The atmosphere where characters and their stories are embedded: what is the influence of film setting and fornitures in defining characters?”
Syllabus contents will be developed through a methodology that is neither historical nor theoretical, but only analytical, a clear-eyed view provided to the participants by the constant use of movies chosen from these directors: Luchino Visconti, Jean Luc Godard and Robert Bresson. The works of these masters in film history will be taken into special accounto to highlight the expressive power of two different types, structured and not-structured narrations and the corresponding choices as to characters setting and scenical coherence. Contemporary movies and their fictional impact are largely indebted to those narrative patterns.

Readings/Bibliography

BASIC BIBLIOGRAPHY FOR ORAL  EXAM :A,B,C,D.

A) G.Rondolino, D.Tommasi "Manuale del film Linguaggio-racconto-analisi",Utet,Torino, 2008. or: F. Casetti ,
     F.Di   Chio "Analisi del film" , Bompiani, Milano, 1990.

B)  S. Iommi, "L'ambientazione nel film", Vecchiarelli, Roma, (It will be published before the 2010 end; you  will find to Libreria dello Spettacolo, Via Mentana  1/c  - Bologna; Tel. 0039. 051. 237277)

C) C. Vogler (1992) trad. it. "Il viaggio dell'eroe", Dino Audino, Roma, 1999.

D) Chose one book from the following list:

"Visconti - Godard - Bresson: schede introduttive al lavoro di tre maestri del cinema"
Basilar  concise paper on  Visconti- Godard - Bresson-  to support  the course  of Film Analysis 2010/2011.
The paper will be consult before the course end: link http://campus.cib.unibo.it/

R. Bellour ( 1995) trad. it., L'analisi del film, Kaplan, Torino, 2005.

R. Odin (2000) trad. it., Della finzione, Vita e Pensiero, Milano, 2004

R. Altman (1999) trad. it., Film/Genere, Vita e Pensiero, Milano, 2004

S. Chatman (1978) trad. it., Storia e Discorso. La struttura narrativa nel romanzo e nel film, Pratiche, Parma,1980.

D. Parent-Altier, (1997) trad. it., Introduzione alla sceneggiatura, Lindau, Torino, 2007.

N. Burch (1990) trad. it., Il Lucernaio dell'infinito. Nascita del linguaggio cinematografico, Pratiche, Parma,1994.

M. Joly (1994) trad. it., Introduzione all'analisi dell'immagine, Lindau, Torino, 2008.

D. Chateau (2006) trad. it., Introduzione all'estetica del cinema, Lindau, Torino, 2007.

M.Chion (1990) trad.it., Audiovisione, Lindau, Torino, 2000. 

C.Vicentini, L'arte di guardare gli attori. Manuale pratico per lo spettatore di teatro, cinema, televisione, Marsilio, Venezia, 2007.

B. Brown, La fotografia nel film, I, II Vol. Dino Audino, Roma, 2004



BASIC FILMOGRAPHY FOR ORAL EXAM. 

It's possible to find all the films in Videoteca DAMS, via Barberia n. 4 Bologna -tel 051. 2092008-  It's necessary to know at least 20 films . 8 of them will be analysed during the lessons, they are:

1) La terra trema: episodio del mare, L. Visconti (1948)

2) Senso, L.Visconti  (1954)

3) Morte a Venezia, L.Visconti (1971)

4) Fino all'ultimo respiro (A bout de souffle), J. L. Godard (1960)

5) Passion, J.L.Godard (1982)

6) Je vous salue Marie, J. L. Godard (1985)

7) Lancillotto e Ginevra (Lancelot du Lac), R. Bresson (1974)

8) L'Argent, R. Bresson (1983)


You can chose the last 12 movies among  these related to the monographic part of the course, they are:

1) Aurora (Sunrise), F.W. Murnau (1927)

2) Il vento (The wind), V. Sjöström (1928)

3) Fiori d'equinozio,  (Higanbana) Y. Ozu (1958),

4) Ordet, C.T. Dreyer, (1955)

5) One between  these: Lo specchio  (Zercalao ,1974), Sacrificio (Sacrificatio ,1986), Andrej Tarkovskij

6) One among these: Il posto delle fragole (Smultronstallet ,1957), Fanny e Alexander (1982), Sussurri e grida (Viskningar oc rop , 1972),  Ingmar Bergman

7) One among these: Mamma Roma (1962), Medea (1969), Ro.Go.Pa.G, episode: La ricotta (1963), Pier Paolo Pasolini
 
8) One among these: Il deserto rosso (1964), L'eclisse (1962), La notte (1961), N.U. (1948), Michelangelo Antonioni

9) One between these: L'eternità e un giorno (Mia eoniotita  ke  mia  mera,1998), Lo sguardo di Ulisse (To vlemma tou  Odyssea, 1995), Theodoros Angelopoulos

10) One between these: Lo straniero pazzo (Gadjo dilo), Toni Gatlif (1997); Last days, Gus Van Sant, (2005)

11) Home, Yann Arthus-Bertrand (2009)

12) Avatar, James Cameron (2009)


E) REFERENCE BIBLIOGRAPHY:

L.Guerrini - A. Papi, Da Munk a Dreyer, Vecchiarelli, Roma, 2009. pp.248-316 (Student-discount: 30%- Libreria dello Spettacolo a Bologna . Via Mentana 1/c, Bologna;   tel. 0039 051 237277)
P. Tone, Carl Theodor Dreyer, Il Castoro, Nuova Italia, Firenze, 1978.

M. Russo, Wim Wenders percezione visiva e conoscenza, Le Mani, Genova, 1977.

W.Wenders, L'atto di vedere, UBU, Milano, 2002.

S. Arecco, A. Resnais o la persistenza della memoria, Le Mani, Genova, 1997.

P. Bertetto, Alain.Resnais, Il Castoro, Nuova Italia, Firenze , 1981

A. Aprà (a cura di), Roberto Rossellini. Il mio metodo, Marsilio, Venezia, 1987.

R. Bresson, Note sul cinematografo, Marsilio, Venezia, 2003.

L.Guerrini, Discorso per una lettura di 'L'Argent' di R. Bresson, Bulzoni, Roma,1992.

I. Bergman, Immagini, Garzanti, Milano, 1992.

A. Costa (a cura di), Ingmar Bergman, Marsilio, Venezia, 2009

G. Rondolino, Visconti, UTET, Torino, 1981.

A. Solmi, Tre maestri del cinema,Vita e Pensiero, Milano, 1956.

N. Ranieri, Amor vacui. Il cinema di Michelangelo Antonioni, Métis, Chieti, 1990.

S. Bernardi, Kubrick e il cinema come arte del visibile, Il castoro, Milano, 2000

A. Farassino,  Jean-Luc  Godard, Il Castoro, Milano, 2002.

A.Canziani, Durante e dopo il film, Bulzoni, Ed. Roma, 1988

A. Moscariello, Nouvelle Vague, Dino audino ed., Roma, 2009.

G. Paganelli, Segni di vita - Werner Herzog e il cinema, il Castoro, Milano, 2008.

G. Rondolino, Rossellini, Il Castoro, Nuova Italia, Firenze, 1974.

P. Montani, Dziga Vertov, Il Castoro, Nuova Italia, Firenze, 1975.

A. Cattini, Louis Bunuel, Il Castoro, Milano, 2006.

A. Napolitano, Robert Flaherty, Il Castoro Cinema, Nuova Italia, Firenze, 1975.

J. Renoir, La mia vita e i miei film, Marsilio, Venezia , 1992.

A. Bazin, Jean Renoir, Da Capo Press, 1992 (versione inglese)

P.Duncan, Tutti i film di Alfred Hitchcock, Lindau, Torino, 2001.

F. La Polla, Steven Spielberg, Il Castoro, Nuova Italia, Firenze, 1995.

S. Murri, Pier Paolo Pasolini, Il Castoro, Milano, 2003.

B. Forslund, Victor Sjostrom: His Life and His Work, Zoetrope, New York, 1988.

P. M. Minucci (a cura di), Theo Angelopoulos, Revolver Libri, Bologna, 2004.

A. Tassone, Akira Kurosawa, Il Castoro, Nuova Italia, Milano, 2008

P. G. Tone, Friedrich W. Murnau, Il Castoro, Milano, 1977

Assessment methods

*The examination of Film Analysis (12,10 cfu) is managed by oral discussion only through a talk with the professor based on the knowledge of the 20 movies in filmography and of the books in basic bibliography (A,B,C,D) It is important that the student shows the ability to apply the concepts he has learned from books (or from in-depth analysis during classes) to the movies themselves. Knowledge of a book chosen from reference bibliography (E) will be required to non-attending students.
*For the examination of Film Analysis (5,6 cfu) it will be required the knowledge of books in basic bibliography (A,B) and movies 2,3,4,6, 8 in the first list with 3 movies chosen from the list of film related to the monographic part of the course . Knowledge of a book chosen from reference bibliography(E) will be required to non-attending students. 

*Candidates for a degree can agree with the professor before final exam about a specific program to enrich their curricula.

Teaching tools

Scholars and professionals of different areas will be invited to classes to help developing specific themes.

* The monographic part of the course will be by dr. Sara Iommi,  who will focus on the analysis of the different functions of film setting.
* One seminary on film-photography, by dr.Luisa Papa, who will focus on this subject: “About characters, atmosphere on the scene”

Links to further information

http://www.unibo.it/docenti/loretta.guerrini

Office hours

See the website of Loretta Guerrini