CINEMA AND PHOTOGRAPHY - I

The course – which is organized in two units (Cinema and Photography I-II) complementary to each other – Is part of the historical-artistic teachings that characterize the Master’s Degree in Economics and Management of Arts and Cultural Activities (EGArt). It therefore intends to provide students with the knowledge and comprehension of the main lines of (historical, theoretical, aesthetic, social, technical) development of photography in a constant comparison with the contemporary visual arts, film and image theories. Particular attention will be given to those exhibitions which, between the 19th and 21st centuries, were fundamental in defining the history and identity of photography as a medium of contemporaneity, and therefore an essential form of knowledge.

Excellent knowledge of the history of cinema (exploring the circulation of films and their relation to cultural, social and economic spheres). Students are expected to acquire adequate theoretical skills through a methodology, which, even in view of their future professional needs, begins with an attentive analysis of selected filmic artefacts (films, events, movements) in the context of the processes that generate them. This will help them understand the subject of study and build their own thought and critical judgment. Interaction and active participation during classes will be encouraged as much as possible to increase students’ cognitive abilities and both help them exercise expressive-communicative skills and develop specific terminological competence in a constant exchange with the professor and fellow students.

Good knowledge of the history of cinema, as well as of the major historical events and main movements of thought between the 19th and the 21st centuries.

In the two units (Cinema and Photography I-II), which are organized following a complementary and common historical-critical path, the course deals with the relationship between photography, film and other visual languages; between new media and contemporary society; between the documentary and artistic experimentation. It also investigates the changes that have occurred in the making, circulation and reception of photography with the digital turn – as well as the methods and meanings of collecting, archiving, and exhibiting images in the media ecosystem.

More specifically, the first traces the history of cinema exploring film festivals emphasizing their crucial role i.e. when identifying different stylistic canons, when defining the success of certain artistic movements (such as the Nouvelle Vague), when identifying the paradigms through which non-Western cinematography are received, when defining the specific relationship between industrial, cultural aspects as well as habits peculiar to the art of filmmaking, when defining spectatorship but also the relationship between festivals and the political and social history of given countries. Festivals are also excellent observation point for reflecting upon the changes that the advent of digital technology has imposed on the media ecosystem and on the position occupied by cinema in this ecosystem. This is due to a different, more converging and pervasive mode of circulation and fruition of audio-visual artefacts in relation to vision platforms on one hand and the sphere of art exhibitions on the other.

For attending and non-attending students:

1. Stefano Pisu, “Il XX secolo sul red carpet. Politica, economia e cultura nei festival internazionali del cinema (1932-1976)”, Roma, Carocci, 2016.
2. A selection of critical texts will be provided by the professor during lectures.

NB: The complete programme will be presented and made available at the beginning of the course.

Non-attending students and those who skip more than 30% of the lessons will prepare, in addition to the programme indicated above, one of the following books of their choice:

- Peter Bosma, “Film programming: curating for cinemas, festivals, archives”, New York, Columbia University Press, 2015.
- Marijke de Valck, “Film Festivals: From European Geopolitics to Global Cinephilia” Amsterdam, Amsterdam University Press, 2007.
- Marijke de Valck, Brendan Kredell and Skadi Loist (a cura di) “Film Festivals. History, Theory, Method”, Practice, London-New York, Routledge, 2016.
- Maria Francesca Piredda, "I festival del cinema in Italia. Forme e pratiche dalle origini al Covid-19", Roma, Carocci, 2022.
- Federico Zecca (a cura di), “Il cinema della convergenza: industria, racconto, pubblico”, Milano-Udine, Mimesis, 2012.

Students who have never attended courses of film history during their Bachelor’s or Master’s degree course are suggested to read the following volume (please note that the textbook is not part of the examination programme):

- Christian Uva, Vito Zagarrio (a cura di), “Le storie del cinema. Dalle origini al digitale”, Roma, Carocci, 2020.

NB: It is advisable to contact the professor for specific requests or particular language needs about the bibliography for the exam.

The exam will consist only in an oral test, both for attending and non-attending students, with questions related to the bibliography mentioned above and the topics covered during the course. In addition to the understanding of the main theoretical ideas, the professor will test the students’ ability to recognize and discuss photographs and other images considered in class or reproduced in the reference essays, as well as their ability to develop an independent critical thought and create parallels between the topics. During the third week of lessons, attending students must agree on a film festival project with the professor - to be carried out individually or in small groups of maximum 2-3 people - which has to take into consideration each different aspect: choice of format and topics, selection and loan of film, budget or financing plan/fundraising, catalog and communication. The project will then be presented (in Power Point or in another similar format suitable for presentation) and discussed, together with the professor and classmates, during the oral exam. The project will contribute for the 30% to the overall evaluation of the exam. NB: In the case of projects carried out in groups, students should register for the exam in the same session, so as to permit a correct evaluation of each one’s work in the group.

On order to facilitate the learning process during lectures we will reflect upon a few case studies together, with the intent of better exemplifying the content of certain theoretical texts. Any possible encounters with experts in the field, organized when possible in collaboration with the other professor f the second module will be an integral part of the course – more information will be provided during classes.

Italian

Class attendance is recommended to all students and is required to those who wish to apply for a thesis in History of Cinema. Those who skip more than 30% of the lessons will be considered non-attending students and to prepare the exam will have to add one of the books of the suggested bibliography.

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 disabilita@unive.it.

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