Teacher Loretta Guerrini. Credits Teaching Mode Traditional lectures. Language Italian.
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Teacher Loretta Guerrini. Credits Teaching Mode Traditional lectures. Language Italian. Insegnamenti online - IOL. This course will be focused on some of the fundamental components of the film: from segmentation, structuring and de-structuring of its play, editing and temporality in relation to setting and photography.
The hero-protagonist's role, the other characters and their traits, characteristics in relation to their actions and their being.
The analysis includes the function of the objects, the components of the shot and their proportions in relation to the off-screen, as well as the use of sound editing.
These components will be analysed on films taken from the history of Cinema and the current period. The analysis and segmentation of the film carried out in classroom in front of the screen will be in-depth analysed referring to the history and the methods of film analysis, with special attention to the latest films.
Ivan Selva, will be communicated at the beginning of this course. Iommi, "Appunti per un'analisi dell'ambientazione nel film", versione aggiornata dall'autrice:. Guerrini Verga, A. Torino in particolare per gli studenti interessati alla formazione del film in ambiti educativi. Chatman trad. Burch trad. Nascita del linguaggio cinematografico, Pratiche, Parma, Vicentini, , L'arte di guardare gli attori, Manuale pratico per lo spettatore di teatro,cinema, televisione, Marsilio, Venezia.
Attending students are required to take a test in the second half of the course based on segmentation of the filmography analysed in classroom, which will not affect the final evaluation. The final examination will consist of a written part and an interview. Students shall pass the written part with closed answers by video terminal to sit the interview.
The written exam focuses mainly on the basic knowledge of the course books and the other material in the syllabus. Students are expected to demonstrate the ability to apply the course contents to films. At the exam date, students shall show their university badge or ID card to access the computer system by their institutional credentials firstname. They are invited to check their institutional credentials before the exam.
Students with DSA certification may extend the test duration communicating this request to the teacher upon exam registration.
It will be assessed as excellent the performance of those students achieving an organic vision of the course contents, the use of a proper specific language, the originality of the reflection as well as the familiarity with the tolls for analysing films.
It will be assessed as discrete the performance of those students showing mostly mechanical or 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, inappropriate language, lack of knowledge of the discipline. 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.
See the website of Loretta Guerrini. Search Search Close. People Structures Close. My e-mail for students My e-mail for staff Close. Facebook Twitter Linkedin Send to friend. Search Course unit catalogue. Course contents This course will be focused on some of the fundamental components of the film: from segmentation, structuring and de-structuring of its play, editing and temporality in relation to setting and photography.
Wachowski, 3 " Lo sguardo di Ulisse ", T. Kubrick, 5 " Det sjunde inseglet ", I. Axel, 8 " Offret ", A. Rondolino, D. Tommasi, Manuale del film.
Linguaggio-racconto-analisi, Utet, Torino, Cassani, Il manuale del montaggio, Utet, Torino, Vitella, Il montaggio nella storia del cinema, Marsilio, Venezia, - F. Casetti, F. Di Chio, Analisi del film, Bompiani, Milano, B One text among: - C. Vogler , trad. Il viaggio dell'eroe, Dino Audino, Roma, McKee, "Story" C S. D Non-attending students , one text among: - P.
Torino in particolare per gli studenti interessati alla formazione del film in ambiti educativi - G. Alonge, Il Cinema tecniche e linguaggio.
Un'introduzione, Ed Kaplan, Bellour trad. Odin trad. Altman trad. Parent-Altier, trad. Joly trad. Chateau trad. Chion trad. Audiovisione, Lindau, Torino, Film analysis will be carried out in front of the movie screen.
They will be considered attending students those able to demonstrate attendance to the lessons. Assessment methods Attending students are required to take a test in the second half of the course based on segmentation of the filmography analysed in classroom, which will not affect the final evaluation. Before preparing the exam, students shall check for any updates to the syllabus.
Students negatively graded or who refuse their grade, they shall take the exam as non-attending. Written examinations for non-attending students are scheduled during the academic year. Office hours See the website of Loretta Guerrini.
HISTORY OF CINEMA (004LE)
The course aims to provide the essentials elements to understand the historical development of the forms of narrative film through the various ways of editing. More generally, the objective is to provide analytical and conceptual tools for the understanding and interpretation of texts taken in their original linguistic version, thus bringing the cultural product to its context. The course explores the ways in which editing, in its various forms and functions, has developed the film story from the origins to the classic cinema, the avant-garde movements and the modern cinema. Analysis of clips from films belonging to different eras in history of film language. Analytical view of some movie chosen as case study. The course aims to provide the essentials for understanding the historical development of the forms of film narrative. The oral exam will focus on the issues discussed in the lectures, as well as on the study of the following texts:.
Il montaggio nella storia del cinema
View all 2 copies of Il montaggio nella storia del cinema. Tecniche, forme, funzioni. Federico Vitella. By Federico Vitella.
IL MONTAGGIO NELLA STORIA DEL CINEMA VITELLA PDF
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