96451 - Laboratory in Preparation of the Thesis (1) (G.E)

Learning outcomes

By the end of the laboratory the student: knows the main research methodologies in the respective field of study; acquires an in-depth knowledge of the structure and organization of an argumentative text; is able to collect and organize primary and secondary sources, and to write a bibliography; knows how to apply appropriate editorial criteria in the finalization of the text.

Course contents

The workshop is divided into two parts:

 

PART 1 - Silent cinema: filmic representation. Sources, documents, materials, tools

PART 1 will reconstruct the first public screening by the Lumière brothers and the program of a film screening session in early-twentieth-century Italy.

PART 2 - How to write a thesis about Italian silent cinema: topic choice, research and indexing, writing (with citations and notes), text editing and formatting

Readings/Bibliography

The reading of the following book is mandatory: Umberto Eco, Come si fa una tesi di laurea, Milano, La nave di Teseo, 2019.

Other texts will be mentioned during the workshop.

Additional texts, whose reading is NOT mandatory, are the following:

 

Georges Sadoul, “Materiali, metodi e problemi della storia del cinema”, in Camillo Bassotto (edited by), La storiografia cinematografica. Atti della tavola rotonda alla XXV Mostra Internazionale d’Arte Cinematografica (Venezia, agosto-settembre 1964), Venezia, Marsilio, 1966, pp. 19-82.

 

Irène Bessière, Jean A. Gili (edited by), Histoire du cinéma. Problématique des sources. Atti del convegno (Paris, novembre 2002), Paris, INHA, 2002.

 

Paolo Caneppele, Denis Lotti, La documentazione cinematografica ovvero Le fonti storico-cinematografiche. Manuale per studiosi, studenti, appassionati, Bologna, Persiani, 2014.

 

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

 

Aldo Bernardini, “La filmografia”, in Gian Piero Brunetta (edited by), Storia del cinema mondiale. Volume XI. Parte I, Torino, Einaudi, 2001, pp. 245-261.

 

Aldo Bernardini, Archivio del cinema italiano. Volume I: il cinema muto (1905-1931), Roma, Edizioni ANICA, 1991.

 

Aldo Bernardini, Vittorio Martinelli, Il cinema muto italiano (1905-1931), Roma - Torino, CSC - Nuova ERI, 1991-1996 (a series of 21 volumes).

 

Aldo Bernardini, Cinema italiano delle origini. Gli ambulanti, Gemona (Udine), La Cineteca del Friuli, 2001.

 

Michael Guarneri, “L’attrazione della corsa fantasma. Phantom ride dalla novità al 1904”, in Immagine. Note di Storia del Cinema, n. 12, 2015, pp. 99-123.

 

Elena Nepoti, Storia del cinema muto a Bologna. Dalle origini agli anni Venti, Bologna, Persiani, 2018.

 

Paolo Caneppele, Sguardi privati. Teoria e prassi del cinema amatoriale, Milano, Meltemi, 2022.

Teaching methods

This 30-hour workshop is open to a maximum of 30 students.

Registration is mandatory: in order to sign up for the workshop, please write an email to the academic tutor (michael.guarneri2@unibo.it) stating your SURNAME, NAME, STUDENT NUMBER and E-MAIL ADDRESS.

Attendance is mandatory for at least 3/4 of the workshop sessions.

Assessment methods

In order to pass the exam, the students must have attended at least 3/4 of the workshop sessions.

The students may choose to take the exam as an individual Q&A session OR as a written exam.

- Individual Q&A session: during the Q&A session, the students will have to demonstrate their knowledge of the topics discussed in PART 1 of the workshop.

- Written exam: the students must submit an essay of twenty 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 exam session.

Teaching tools

Analysis of early cinema’s film programs.

Practical exercises (e.g., compiling bibliographies and filmographies).

Office hours

See the website of Michele Canosa