CINEMA AND PHOTOGRAPHY

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.

Basic 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.

1. Stefano Pisu, “Il XX secolo sul red carpet. Politica, economia e cultura nei festival internazionali del cinema (1932-1976)”, Roma, Carocci, 2016.
2. Maria Francesca Piredda, "Organizzazione, strategie di posizionamento e sostenibilità dei film festival italiani" in ID, "I festival del cinema in Italia. Forme e pratiche dalle origini al Covid-19", Roma, Carocci, 2022, pp 91-120.
3. A selection of critical texts uploaded on the course moodle page.

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:

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

(please note that the textbook is not part of the examination programme)

Each student may choose between two modes of evaluation.

MODALITY 1: Group Work
- Task: Preparation of a report dedicated to a film festival currently active in Italy, possibly starting from an "ethnographic" field activity (on-site visits, interviews with programmers and spectators, data and material collection). The report must be submitted in PDF format on Moodle at least four days before the exam roll call.
- Oral Interview: The group will discuss the report during the oral interview. Additionally, an individual interview will be conducted to verify knowledge of the topics covered in the lessons and present in the texts included in the examination bibliography.
- Assessment: The evaluation will consider 1/3 of the results from the report and 2/3 from the individual oral test.

MODALITY 2: Individual Project Work
- Task: Preparation of a creative project for the foundation of a new film festival according to criteria of cultural appeal and economic sustainability. The project must be submitted in PDF format four days before the exam date and discussed with the lecturer during the oral examination.
- Oral Examination: Knowledge of the topics covered in class and in the examination texts will be tested during the oral exam.
- Assessment: The evaluation will consider 1/3 of the results from the project work and 2/3 from the individual oral examination.

Assessment Criteria for Both Modalities
- The ability to critically apply the acquired knowledge to the case study presented (30%).
- The accuracy and depth of knowledge of the topics covered in lectures and in the examination texts, with particular attention to their historical and cultural dimensions (30%).
- Awareness of the mechanisms of discursive positioning and functioning (including managerial and organizational aspects) of the cultural artifacts studied (30%).
- Attention to the quality of the written and/or oral presentation (10%).

Grading Scale
- Grades 18-22: Awarded where the above-mentioned points reach a sufficient level.
- Grades 23-26: Awarded where the above-mentioned points reach a fair level.
- Grades 27-30: Awarded where the above-mentioned points reach an excellent level.
- Honours: Awarded where the above-mentioned points reach an outstanding level.

In order to facilitate learning, some case studies will be reflected upon together during the lectures to better exemplify the contents of some of the texts in the handouts. Possible meetings with experts, organised when possible in collaboration with the lecturer of the other module, will be an integral part of the course. More information on this will be given at the beginning of the lessons.

Italian

Class attendance is recommended.

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.

written and oral

This subject deals with topics related to the macro-area "Circular economy, innovation, work" and contributes to the achievement of one or more goals of U. N. Agenda for Sustainable Development