FILM ANALYSIS AND AUDIOVISUAL LANGUAGE

The course is part of the related or additional programmes included in the curricula of “Art History” and “Performing Arts and Media Studies” for the Bachelor's Degree Programme in “Conservation of Cultural Heritage and Performing Arts Management”. Its aim is to provide students with a supplementary set of concepts related to the structure of the art system, as well as to the enhancement the cinematographic heritage and the most frequently encountered audio-visual materials. The objectives of the course are: to prepare students to develop a “privileged” and informed relation to audio-visual artworks (i.e. films and other formats), so as to be able to define their “agency” and “performativity”. Contemporarily students will acquire methodological tools enabling them to subdivide audio-visual artifacts into segments subsequently reconstructing their principles of meaning and narrative/discourse structure.

1. Knowledge and comprehension: Knowledge of the terminology of film language; Knowledge of the basics rules in order to distinguish cinema’s main techniques and narrative models; Ability to comprehend critical and theoretical texts dealing with cinema.
2. Ability to apply the acquired knowledge and comprehension: Ability to describe a sequence or a film placing it in its historical, production and genre-related context; Ability to apply methodological approaches analysing films and audio-visual artworks; Ability to apply a metalinguistic ability in order distinguish between the specifically cinematic codes and codes belonging to other modes of expression.
3. Judgment skills: Ability to form personal interpretations based upon knowledge of the critical-theoretical literature; A critical approach to the aesthetic, cultural and historical judgment of audio-visual artworks;
4. Communication skills: Ability to participate in discussions around the subjects of the course; Ability to convey the specific character of the theoretical and historical debate using an appropriate vocabulary during the exam as well as during lectures; Ability to interact with fellow students and with the lecturer in a critical and collaborative way, both in the classroom and using virtual electronic platforms.
5. Learning skills: Ability to take notes and share them in a collaborative manner; Ability to consult the reference texts and the relative bibliography in a critical manner; Ability to deconstruct a film sequence or a short audio-visual work discerning the narrative or discourse strategies in action, distinguishing forms of representation of space/time/characters/settings, modes of focusing or point of view chosen.

No pre-requisites are required

Long take, close up, continuity editing, voice over, depth of field, fade-out: these and others “basic units” of defining cinema still represent the main means of creating audio-visual works today. Consequently, students who intend to assume a critical and analytical approach to these products should first get acquainted with the technical language and learn to discern the different modes of expression and narration that form single film sequences or entire films. They should also learn to question their own analytical views reflecting upon which cultural categories are involved. To this purpose our aim is to work in three different spheres, for this reason the total amount of lecture hours is divided in three parts. One part will be devoted to the history of film analysis and the principal methods employed during the last fifty years. The second part will be devoted to acquiring the language of film analysis. The third presents a case study; this year we will focus on an analysis of Rashomon by Kurosawa Akira. Together the proposed learning paths intend to provide an empirical basis enabling students to undertake the analysis of audio-visual texts with a descriptive ability, a historiographical awareness and a specific attention towards aspects such as the involvement of the spectator.

The examination programme for students attending lectures includes the study of the following textbooks:
Gianni Rondolino e Dario Tomasi, “Manuale del film. Linguaggio, racconto, analisi” (terza edizione), UTET, Torino 2018.
Marco Dalla Gassa, “Kurosawa Akira, Rashomon”, Lindau, Torino, 2012

For students who cannot attend lectures, the examination programme also includes the following volume:
Giulia Carluccio e Federica Villa (a cura di), “Dentro l'analisi. Soggetto, senso, emozioni”, Kaplan, Torino 2008.

Students are also required to watch six films listed in a filmography that can be found on the course homepage on Moodle when lectures start. Further informative material regarding the course and research material on the subjects treated (bibliographies, list of film sequences shown during lectures, research paths, etc.) will also be uploaded on the Moodle page.

The learning assessment of this course consists of a written test, divided into two parts, an intermediate and a final test. The intermediate test will be conducted through the Moodle platform, and it will assess the knowledge of the technical vocabulary of cinema. This test will take place approximately at the end of the third week after the start of lectures for students attending them. Non-attending students however must arrange the examination date and mode together with the teacher. The result of this test corresponds to 50% of the overall course grade and will grant the access to the second test. The second test consists of three open-ended questions to be answered in a limited amount of time and it will correspond to the remaining 50% of the overall degree. This test focuses on (1) the case study treated during lectures, and (2) on subjects discussed during lectures (or in the extra textbook for non-attending students) as well as (3) on the filmography of the course, via sequences analysis. Students will find a sheet with more detailed information on the examination modes as well as a facsimile of the intermediate and final exam, uploaded on the course homepage on Moodle page during the first week of the lectures.

Lectures are teacher-centred and comprehend both a historical-theoretical as well as an analytical-methodical point of view. The latter implies active participation of students in the classroom when analysing and commenting on film sequences proposed by both the lecturer and the students themselves.

Italian

In case the Covid-19 emergency should continue in autumn, which implies the adoption of forms of distance learning, the course will be held in a blended learning mode, consisting of videoconferences and material for in-depth study found on the Moodle page. The intent is to try to maintain, as far as possible, the forms of interaction and discussion with students which distinguish this course. As to the final exam, in this case the second test as well might be held through the Moodle platform. In this case the method will consist of an open book examination with two open-ended questions formed in a manner that implies a critical re-elaboration of the course subjects within a limited amount of time. All variations in this sense will be promptly communicated to the students through notices on the Moodle page as well as on the teacher’s personal page at the university’s homepage.

Class attendance is recommended to all students and is required to those who wish to apply for a thesis in History of Cinema.

Ca’ Foscari follows the Italian law (Law 17/1999; Law 170/2010) for the support and accommodation services available to students with disabilities or specific learning disabilities. If you have either a motor, visual, hearing or another disability (Law 17/1999), or a specific learning disorder (Law 170/2010) and you require support (classroom assistance, technological aids for carrying out exams or personalized exams, accessible format material, note retrieval, specialist tutoring as study support, interpreters or other), please contact the Disability and DSA office disabiita@unive.it.

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