27848 - Philology of Cinema (1) (2nd cycle)

Learning outcomes

The course offers a framework related to the philology of cinema, starting from the traditional notions of textual criticism (ecdotica). At the end of the course students: - acquire knowledge of the historical-critical examination of film texts, especially those belonging to early Italian cinema; - are able to compare the texts analyzed with contemporary texts from other cinematography.

Course contents

Main topic: Film philology and (silent) film restoration

 

I. Restoration theory: Cesare Brandi’s teachings, and beyond

I.1. Image and matter

I.2. Structure and appearance

I.3. Lacunae and how to deal with them

 

II. Textual criticism

II.1. The “errors”

II.2. The “variants”

II.3. Stemma codicum

 

III. Film restoration

III.1. Repairing the damage

III.2. Filling the lacunae

III.3. Film development and printing

 

IV. The restoration and textual reconstruction of (silent) films

IV.1. The principle of “authorial intentions”

IV.2. The principle of “first screening”

IV.3. The principle of “best copy available”

Readings/Bibliography

The students must choose one text from each section, for a total of four texts to be studied.

Section I:

Cesare Brandi, Teoria del restauro, Torino, Einaudi, 1977; new edition: Milano, La nave di Teseo, 2022; English translation: Cesare Brandi, Theory of Restoration, Firenze, Nardini, 2005; French translation: Cesare Brandi, Théorie de la restauration, Paris, École Nationale du Patrimoine - Monum, undated; Portuguese translation: Cesare Brandi, Teoria da Restauração, São Paulo, Ateliê Editorial, 2004; Chinese translation: Cesare Brandi, Teoria del restauro, Roma, Gangemi, 2006.

Section II:

Alfredo Stussi, Introduzione agli studi di filologia italiana, Bologna, Il Mulino, 2007.

Or

Armando Balduino, Manuale di filologia italiana, Firenze, Sansoni, 1995.

Or

Pasquale Stoppelli, Filologia della letteratura italiana, Roma, Carocci, 2019.

Or

Paolo Trovato, Everything You Always Wanted to Know about Lachmann’s Method. A Non-Standard Handbook, Padova, Libreria Universitaria, 2015.

Or

Paul Maas, La critica del testo, Roma, Edizioni di storia e letteratura, 2017.

Or

Enrico Malato, Lessico filologico. Un approccio alla filologia, Roma, Salerno Editore, 2008.

Section III:

Michele Canosa, “Per una teoria del restauro cinematografico”, in G. P. Brunetta (edited by), Storia del cinema mondiale. Volume V, Torino, Einaudi, 2001, pp. 1069-1118.

Section IV:

Giovanna Fossati, Dai grani ai pixel. Il restauro del film nella transizione dall’analogico al digitale, Bologna, Persiani, 2021.

Or

Stella Dagna, Perché restaurare i film?, Pisa, ETS, 2014.

Or

Alice Plutino, Tecniche di restauro cinematografico. Metodi e pratiche tra analogico e digitale, Roma, Ed. Dino Audino, 2020.

Or

AAVV, Work/s in Progress. Digital Film Restoration Within Archives, Vienna, Synema, 2013.

Or

Paul Read, Mark-Paul Meyer, Restoration of Motion Picture Film, Oxford, Butterworth-Heinemann, 2000.

Or

Gian Luca Farinelli, Nicola Mazzanti (edited by), Il cinema ritrovato. Teoria e metodologia del restauro cinematografico, Bologna, Grafis, 1994.

 

 

All the above texts are available at the Biblioteca del Dipartimento di Musica e Spettacolo (via Barberia 4).

Teaching methods

Lectures (in person, variations may apply due to unforeseen circumstances).

Assessment methods

Individual Q&A session.

During the exam session, the students will be asked questions relating to the topics discussed during the course, with a specific focus on: restoration theory according to Cesare Brandi; the basic notions of textual criticism; film reconstruction and film restoration procedures.

It is mandatory to watch the main films mentioned in the bibliography.

In order to obtain a good mark, it is essential to master the film terminology, and to demonstrate critical thinking and adequate exposition skills.

In view of the exam, the students may submit an essay of thirty pages maximum (“tesina”). The topic of the essay should be discussed in advance with professor Michele Canosa, and sent to him via e-mail at least two weeks before the Q&A exam session. Please follow the writing guidelines outlined at the following link: https://corsi.unibo.it/magistrale/Cinema/la-tesi-di-laurea

A CAUTIONARY NOTE: the essay is NOT mandatory and it does NOT exonerate the students from attending the Q&A exam session. An essay showing originality, a good literature review, a solid methodology, a good use of Italian language and abidance by the rules of academic writing will pave the way for the students to obtain an excellent mark.

Teaching tools

Film screenings.

Office hours

See the website of Michele Canosa