CINEMATOGRAPHIC LANGUAGES
- Overview
- Assessment methods
- Learning objectives
- Contents
- Full programme
- Teaching methods
- Contacts/Info
None
The final examination will ascertain the acquisition of the breadth and variety of the specific encyclopaedic background, the ability to apply the acquired analytical tools in a medial manner and the faculty of interpretation and original reflection. The assessment of learning will take place for both attending and non-attending students by means of a written examination with closed and open answers, lasting approximately 90 minutes. An example of an open and closed question will be provided during the lectures.
Students with DSA certification are entitled to an extension of the duration of the test, and may agree on alternative assessment methods, as provided by the University. Interested parties are requested to inform the lecturer of their request at the time of enrolment, as well as to always include the University DSA Service in their communications regarding such requests. Info: https://www.uninsubria.it/servizi/tutti-i-servizi/servizi-studenti-con-d...
Achievement of the expected results leads to excellent marks in examinations. Conversely, a manualistic knowledge of the subject, an unarticulated ability to summarise and analyse or correct but non-specific language lead to fair or sufficient marks. Below sufficient are educational gaps, inappropriate language, lack of orientation within the bibliography and filmography as well as inability to analyse.
LEARNING OBJECTIVES
The course aims to provide students with the tools to recognise the various types of film works and to place them in their appropriate historical, social and cultural contexts, associating them correctly with authors and currents. The transmission of the elements of film grammar and specific vocabulary, as well as a basic knowledge of the semiotics of the text, also enable the learner to conduct an analysis of the language, narrative and stylistic structure of a film, also in the light of the cross-media panorama in force within the mediasphere.
EXPECTED LEARNING OUTCOMES
At the end of the course, the student possesses an organic knowledge of the topics addressed, together with a solid historical view of the authorial and industrial panorama. He/she displays a mastery of expression combined with the use of specific language, shows originality of reflection and interpretation of cinematographic media phenomena as well as familiarity with the tools of their analysis.
In its three forms, fiction, documentary, animation, cinema is still one of the protagonists of the mediasphere today. The course starts from the historical-social premises for the birth of the medium, continues with twentieth-century technological and linguistic developments to frame its role in the current multimedia and cross-media panorama. The exposition of basic film grammar and lexicon, as well as hints at the semiotic, narratological and pragmatic foundations of the medium will allow the learner to understand the nature, functioning and use of the cinematographic device. In parallel, the main expressive currents and related authors, languages and works will be analysed.
FULL PROGRAMME AND COMPULSORY FILMOGRAPHY
Modules
1. INTRODUCTION TO THE COURSE AND HISTORICAL PREMISES (2 lessons)
2. THE LANGUAGE OF ANIMATION (6 lessons)
3. TECHNIQUE, SEMIOTICS AND NARRATOLOGY (2 lessons)
4. THE LANGUAGE OF FICTION (9 lectures)
5. THE LANGUAGE OF THE DOCUMENTARY (3 lessons)
MODULE 1) INTRODUCTION TO THE COURSE AND HISTORICAL PREMISES (2 lessons)
Tools and objectives. The three declinations of cinema: from life, documentary, animation. The 19th century Zeitgeist and the birth of the medium. Pre-cinema. The chronophotograph. The stroboscopic projector. Invention of the cinematographic film. The codes of representation: painting, photography, theatre.
IMAGES from the web: camera obscure, magic lanterns, optical toys. Chronophotographs by E.Muybridge and E. J.Marey. Emile Reynaud and the Optical Theatre.
MODULE 2) THE LANGUAGE OF ANIMATION (6 lessons)
Animated cartoons: a comic language between comics and cinema. The many techniques of animation. The Pioneers. The first series and the 'Rubber Hose' animation technique. The US-European Panorama: Birth of the avant-garde/entertainment myths (Mickey Mouse). Disney's 'Full Animation'. Animated propaganda. Disney classics, princesses and folklore. The advent of TV and serial animation. Italy. The crisis of the 1980s. The Anime Boom. New US series. Pixar and 3D and 2D digital animation. Motion Capture, AR, VR and AI.
TEXTS for this module
ALL CINEMA: p.224 to the end.
SUPERMAN&CO: pp 11-47; § 6.2-6.2; p. 167 to the end, except § 11.1
COMPULSORY FILMOGRAPHY
Non-attending students: they must independently find the films shown in class, possibly also in the form of partial extracts on platforms such as You Tube, Archive.org, Dailymotion, Vimeo, Internet Archive.
J. S.Blackton: The Enchanted Drawing 1900, Humorous Phases 1906.
Reynaud - Pantomimes Lumineuses 1892
Cohl - Fantasmagorie 1908
Mccay – Gertie the Dinosaur 1914
Fleischer – 2 corti da: Out of the Inkwell series – Betty Boop Cartoons
Pat Sullivan – 2 episodi da: Felix the Cat (evoluzione del character)
Hans Richter, Rhytmus 21, 23 1921-23
Viking Eggeling, Symphonie Diagonale 1924
Walther Ruttmann: Malerei mit Zeit – Lichtspiel Opus I 1921; II 1923
Oskar Fischinger – Wachsexperimente 1923-27; An Optical Poem 1938
Lotte Reiniger, Die Abenteuer des Prinzen Achmed, 1926 (estratti).
Alexandre Alexeieff: Le Nez 1963.
Disney–Steamboat Willie 1928,The BandConcert 1935,The Old Mill 1937
Warner Bros. Episodi da:Merry Melodies,Looney Toons
Liberio Pensuti, Il Dr. Churkill 1941
Disney: Der Fuehrer’s Face 1943
Hanna & Barbera – estratti da:Yogy Bear, The Flintstones, The Jetsons.
Disney - Biancaneve1937 o Fantasia o Pinocchio 1940 o Dumbo 1941
Norman McLaren Opening Speech, 1960; Lines: Horizontal 1962, Mosaic, 1965; Neighbours 1952, Canon 1964; Pas de Deux, 1968.
Bruno Bozzetto, West&Soda 1966 o Vip mio Fratello Superuomo 1968 o Allegro non Troppo, 1976.
George Dunning estratti da: The Yellow Submarine 1968
Ralph Bakshi Fritz the Cat, 1972 o altro titolo del regista, a scelta
Anime - 2 episodi da:Ufo Robot-Goldrake; Sailor Moon
Barry Purves, Screenplay 1984
Robert Zemeckis, estratti da: Roger Rabbit 1988
Pixar Luxo Jr; Toy Story 1995 o The Incredibles 2004 o titolo a scelta
Tim Burton, estratti da: Nightmare Before Christmas 1993
Enzo d’Alò, La Gabbianella e il Gatto1998 o altro titolo del regista,a scelta
Aardman - Wallace&Gromit 1989-2008: The Wrong Trousers
Hayao Miyazaki, La città Incantata 2001 o altro titolo del regista,a scelta
Claude Barras, estratti da : La mia vita da Zucchina 2016
Persichetti et alii. Estratti da: Spiderman:un nuovo universo 2018
Serie TV. 2 episodi da: Love, Death&Robots 2019; Arcane 2021
MODULE 3) TECHNIQUE, SEMIOTICS AND NARRATOLOGY (2 lessons)
- Film grammar: Lexicon, punctuation, syntax (framing, scale of fields and planes; camera movements and attributions, 180° rule, transitions and junctions, types of editing).
- Semiotics: Codes, enunciation, pragmatics, transposition
Lectures, with slide projection, viewing of films and excerpts from films and analysis of significant segments. The lessons broaden the panorama offered by the compulsory texts, for which attendance is recommended. Students are required to independently and in advance view the films indicated in the filmography and in class and are encouraged to debate in the classroom and to collectively discuss both the topics covered during the lessons and the teaching materials presented.
TEACHING MATERIALS
Students must independently watch the entire films in the course filmography, which will be provided at the beginning of the lessons.
RECEPTION HOURS
15 minutes before the start of lessons, by appointment via email at least 48 hours before to giorgio.ghisolfi@uninsubria.it