96370 - Film History. Fundamentals (1) (G-N)

Learning outcomes

By the end of the course the student: has an in-depth knowledge of the films, the directors and the main trends of the history of cinema, from its origins to contemporary years; understands the historical, economic, technological and social reasons that have influenced the development of cinema both as an expressive form and an industry; knows how to place representative styles, currents and periods in their cultural context

Course contents

This is one of the two parts of the course Film History and Language. The other part is Film Language: Lab
The course focuses on a range of fundamental issues of cinema history through the study of a selection of relevant films listed in the course filmography (all films are considered part of the exam material). All films analyzed during the course will be contextualized in terms of period of production, whilst taking into account their aesthetic, stylistic and technological factors, as well as the sociological, political and economic phenomena that contributed to their development. The syllabus includes a focus on classical theories on the Hollywood star system, where film stars are considered as social phenomena and icons: Analysis of screen performance is also included. Film examples are taken from a period ranging from the 1930s to the 1970s.

Readings/Bibliography

The filmography for this course is divided into two parts, both compulsory: a) general filmography; b) filmography on the Hollywood star system.

a)

Antologia cinema delle origini (available at the library of the Dipartimento delle Arti, via Barberia 4)
Metropolis (F. Lang, 1926)
Napoléon (A. Gance, 1927)
The Cameraman (E. Sedgwick-B. Keaton, 1928)
Man with a Movie Camera (D. Vertov, 1929)
Modern Times (C. Chaplin, 1936)
Bringing Up Baby (H. Hawks, 1938)
The Rules of the Game (J. Renoir, 1939)
Singin’ in the Rain (S. Donen, 1952)
Paisan (R. Rossellini, 1946)
Diary of a Country Priest (R. Bresson, 1950)
Senso (L. Visconti, 1954)
Rear Window (A. Hitchcock, 1954)
The Seventh Seal (I. Bergman, 1956)
The 400 Blows (F. Truffaut, 1959)
La Dolce Vita (F. Fellini, 1960)
Taxi Driver (M. Scorsese, 1975)
Apocalypse Now (F. F. Coppola, 1979)

b)

The Little Foxes (W. Wyler, 1941)
Gentlemen Prefer Blondes (H. Hawks, 1953)
A Streetcar Named Desire (E. Kazan, 1951)
Klute (A. Pakula, 1971

Teaching methods

Lectures, with analysis of significant film extracts and scenes. Students are encouraged to discuss both the themes and the materials presented during the lectures. Students registered in the teachers/students list who will be able to guarantee regular attendance are to be considered attending students. Lectures will be held in person, unless otherwise required due to sanitary measures.

Assessment methods

The final exam will cover the whole course of Film History and Language, where Film History: Institutional part is the first module.
The final examination will be a written test, and it will be held in person for both attending and non-attending students. For updates regarding the examination procedure, please check the “News” section of the professor’s website periodically.
Tests for attending and non-attending students will be different.
Attending students: before sitting the final exam, students will be asked to test their preparation with short assessment questionnaires during lecture hours (also used to keep track of their attendance). Questionnaires will not be used to add up to the final mark, as they will be considered a tool to keep track of each student’s ongoing preparation. Sitting these self-evaluation questionnaires (passing them is not necessary) is a requirement to take the final examination as an attending student.
The final exam test is divided into two parts. At the end of the 30 hours of the Film History: Principles module, attending students will be asked to sit a first computer-based test with multiple choice questions and short answers questions, which will test their knowledge of the above-mentioned filmography and the basics of film history (that is, notions mentioned in Paolo Bertetto’s Introduzione alla storia del cinema, and Richard Dyer's Star mentioned in the reading list). The average grade of both this test and the final exam (second test) will constitute the final grade. Taking the intermediate exam is a necessary condition to be considered an attending student and therefore to take the exam with the dedicated program. Those students who decide not to take the intermediate exam, or do not wish to accept the received grade, will have to take the exam in the manner prescribed for non-attending students (see below). For attending students, the final exam (second test) is a written test, as mentioned in the course description of the course Film Language: Lab 1.
Non-attending students: for the final exam, non-attending students will be asked to sit a computer-based test, with both multiple choice and open questions, regarding the whole bibliography and filmography indicated in the course contents. Non-attending students will take this test and the final exam for the course Film Language: Lab in the same sitting (see Assessment Methods for Film Language: Lab 1.)
Students with certified learning disorders are allowed extra time to complete the test, and can discuss assessment methods according to the university’s policies. Students are asked to inform the course lecturer about any formal request in this regard when registering for the final exam, as well as to cc all correspondence regarding the subject to the services for disabled students and students with specific learning disabilities.
Both attending and non-attending students will be awarded excellent grades if they can prove they have achieved a full knowledge of the course contents, they can use a proper specific language, they show originality in their elaboration of critical and historical concepts, and prove their ability to link facts related to film history, as mentioned in the bibliography.
Students’ performance will be assessed as average when showing mostly mnemonic knowledge, when they don’t prove synthesis and analysis capabilities, they use a correct but not always appropriate language, as well as a scholastic study of the discipline.
It will be assessed as barely sufficient when students show learning gaps, limited knowledge of film history, and inappropriate language.
It will be assessed as insufficient when students show learning gaps, inappropriate language, no orientation within the recommended bibliography and inability to analyse the subject.

Teaching tools

Students are required to watch all the films listed in the filmography. For this purpose, they can access the Video Library of the Department of Arts (Via Barberia 4). Here, they will be able to book video stations or to borrow materials. In order to avoid too many bookings, students are invited to attend the video library well in advance, considering the date of the exam. Students who do not wish to access the Video Library are required to watch the whole filmography nonetheless by researching films autonomously (still well in advance).

Office hours

See the website of Paolo Noto