96408 - Film Theories

Learning outcomes

By the end of the course the student: knows the basic notions developed in the field of film theory in its historical phases; acquires a theoretical competence that allows him/her to reach a rich understanding of the film as a text; is able to trace the relationships between the theoretical debate on cinema and the history of arts in the twentieth century; is able to place the theoretical debate on cinema within the development of the human sciences in the twentieth century.

Course contents

Part 1. Classical Film Theories

Theories of montage

• Lev Kuleshov: making meaning with montage
• Sergej Ejzenštejn: montage as dialectics
• Dziga Vertov and the "theory of intervals"
• Esfir Shub and "factographic" editing

Theories of Photogénie

• The beauty of cinema according to Louis Delluc
• Jean Epstein and the photogénie of the imponderable
• Photogénie and "estrangement" (Victor Sklovsky)

Theories of Reproducibility

• Walter Benjamin: film and the end of the aura of the artwork
• André Bazin: from the aura of the image to the aura of the event

Part 2: Enrico Ghezzi, cinema, cinéphilie and the last days of humanity

• Fuoriorario, or cinéphilie on television
• Blob, or montage as a technique to subvert meaning
• Cinéphilie as collective history and auto/biography
• Cinema as the self-portrait of time
• Film and aura according to Ghezzi
• Ghezzi between film criticism and film philosophy
• Cinemas against cinema: Ghezzi with Guy Debord
• Ghezzi Filmmaker: The Last Days of Humanity (Enrico Ghezzi-Alessandro Gagliardo, 2023)
  
  

Readings/Bibliography

Readings and screenings are listed below in four different groups.

1) Lecture notes provided by the teacher:

• Che cos'è la teoria del cinema?
• Ricciotto Canudo: il cinema come settima arte
• La fotogenia secondo Louis Delluc
• La fotogenia secondo Jean Epstein
• L'avanguardia russa al tornante della Rivoluzione d'Ottobre
• Lev Kulešov, maestro del cinema sovietico
• Sergej Ejzenštejn: dal montaggio delle attrazioni al montaggio intellettuale
• Dziga Vertov, il kinokismo e la fabbrica dei fatti

2) Books and book chapters:

• Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility (1936)
• André Bazin, What Is Cinema? Vol. 1.

3) Readings for Part 2

• An anthology of essays by and around the work of Enrico Ghezzi will be provided at the beginning of the course on Virtuale.unibo.it

Assessment methods

The final examination will take place in the form of an interview in Italian. Students will be asked to answer a few questions about the program, so as to verify whether they have achieved the following learning outcomes:

• Ability to historically contextualize the main periods in the development of film theory, especially with regard to the classical period, as well as to understand the continuity and discontinuities lines along the elaborations of the different authors in the syllabus
• Ability to use the theoretical tools acquired to analyze the films in the syllabus
•  Mastery of the specific vocabulary of cinema studies
•  Ability to link the theoretical debate on cinema to the history of the 20th century

Students demonstrating a full knowledge and critical understanding of the subject matter will be assessed with the highest marks. Students demonstrating a purely notional exposition of the subject matter will be assessed with good/medium marks. Students with a limited knowledge of the subject, an uncertain or inappropriate vocabulary will be assessed as barely sufficient. Students with major learning gaps in both critical- theoretical-critical and historiographic terms will be assessed as insufficient.

Teaching tools

Video projector, Internet connection, E-learning tools

Office hours

See the website of Monica Dall'Asta