96370 - Film History. Fundamentals (1) (A-F)

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

Together with Film Language: Lab 1, this is one of the two modules of the course Film History and Language.

This module focuses on issues regarding historiography of cinema through the study of masterpieces of film history listed in the filmography of the course (also part of the exam material). All the films analyzed during the course will be contextualized in terms of the historical period of their 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 also includes a focus on classical theories regarding the Hollywood star system, where film stars are considered as social phenomena and icons, as well as for their performance. Film examples are taken from the 30s, 40s, 50s, 60s and 70s.

Readings/Bibliography

- Paolo Bertetto (a cura di), Introduzione alla storia del cinema, Utet, Torino, 2012 (o edizioni seguenti).
- Richard Dyer, Star, Kaplan, Torino, 2009.
- Andrea Bellavita, Andrea Bernardelli, Che cos'è la narrazione cinematografica, Carocci, Roma, 2021 (non attending students only).

COMPULSORY FILMOGRAPHY

Filmography for this course is divided into two parts, both compulsory: a) general filmography; b) filmography covering the subject of the Hollywood star system.

a)

Early Cinema Anthology (available at the video library, Department of the Arts, 4 Barberia Street).

Metropolis (F. Lang, 1926)

Napoléon (A. Gance, 1927)

The Cameraman (E. Sedgwick-B. Keaton, 1928)

L'uomo con la macchina da presa (D. Vertov, 1929)

Tempi moderni (C. Chaplin, 1936)

Susanna (H. Hawks, 1938)

La regola del gioco (J. Renoir, 1939)

Cantando sotto la pioggia (S. Donen, 1952)

Paisà (R. Rossellini, 1946)

Diario di un curato di campagna (R. Bresson, 1950)

Senso (L. Visconti, 1954)

La finestra sul cortile (A. Hitchcock, 1954)

Il settimo sigillo (I. Bergman, 1956)

I 400 colpi (F. Truffaut, 1959)

La dolce vita (F. Fellini, 1960)

Taxi Driver (M. Scorsese, 1975)

Apocalypse Now (F. F. Coppola, 1979)

b)

Piccole volpi ( The Little Foxes, W. Wyler, 1941)

Gli uomini preferiscono le bionde (H. Hawks, 1953)

Un tram che si chiama desiderio (E. Kazan, 1951)

Una squillo per l'ispettore Klute (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: Principles 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 lecturer’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 attendance). The result of said questionnaires will not add up to the final mark, as they will be considered a tool to keep track of one’s ongoing preparation. Sitting these self-evaluation questionnaires (passing them is not necessary) is binding in order to be able 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 1 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 in this matter. 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 the achievement of an organic vision of the course contents, the use of proper specific language, originality in their elaboration of the syllabus and the ability to link facts related to film history, as mentioned in the bibliography.

It will be assessed as discrete the performance of those students showing mostly mnemonic knowledge of the subject, not articulated synthesis and analysis capabilities, a correct but not always appropriate language, as well as a scholastic study of the discipline.

It will be assessed as barely sufficient the performance of those students showing learning gaps, limited knowledge of film history, and inappropriate language.

It will be assessed as insufficient the performance of those students showing 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).

Any requests to move to or from the courses held by prof. Noto (G-N) and by Prof. Pesce (O-Z) must be addressed to the course's tutor, Dr. Stella Scabelli (stella.scabelli2@unibo.it). Requests will be accepted only for valid reasons and if sufficient classroom space is available. In any case, transfers will be authorized only to follow the course's lessons and to carrying out the in-class exercises and intermediate tests; students will be required to take final exam with the originally assigned instructor.

Office hours

See the website of Claudio Bisoni