Italy seen from the beach. History and Italian society through the films of a seaside setting

Filmography:

Filmografia
Domenica d’agosto (1950) di Luciano Emmer
La spiaggia (1954) di Alberto Lattuada
Vacanze a Ischia (1957) di Mario Camerini
Leoni al sole (1961) di Vittorio Caprioli
Agostino (1962) di Mauro Bolognini
Il sorpasso (1962) di Dino Risi
La voglia matta (1962) di Luciano Salce
L’ombrellone (1965) di Dino Risi
Sapore di mare (1983) di Carlo Vanzina
Ferie d’agosto (1996) di Paolo Virzì
Vacanze al mare (2013) Ermanno Cavazzoni
L’ultima spiaggia (2016) di Thanos Anastopoulos, David De Degan 

R. Eugeni, Vacanza, in R. De Gaetano (a cura di), Lessico del cinema italiano, VOL. III, Mimesis, Milano 2016, pp. 359-404.
M. Comand, Dino Risi. Il sorpasso, Lindau, Torino 2002.
E. Giacovelli, La spiaggia, in Id., La commedia all’italiana, Gremese, Roma 1995, pp. 159-165
G. Fanara, Sulla sabbia c’era lei…, in «L’Avventura», 1/2015, pp. 67-84.
M. Zinni, In viaggio verso il boom: note su cinema e turismo in Italia tra ricostruzione e miracolo economico, in «Cinema e Storia», 2016, pp. 125-135.
N. Fullwood, Bodies, Bikinis, and Bras: Beaches and Nightclubs in Id., Cinema, Gender, and Everyday Space. Comedy, Italian Style, Palgrave Macmillan, New York 2015, pp. 65-94

PROGRAMMA FILMOLOGIA-ANNO ACCADEMICO 2017-2018 LM (6CFU)- PROF.SSA PERNIOLA

The filmology course includes an aesthetic and thematic analysis of the cinema of the Italian director Gillo Pontecorvo, known especially for his masterpiece La battaglia di Algeri (1966). During the course will be analyzed in detail all his five feature films, with a focus on language and aesthetic forms chosen by the author, characterized by a combination of classicism and modernity. We will also examine the critical aspects of his work and the ability to approach with great modernity themes until then little dealt with in the field of Italian cinema.

Lessons are given:
16, 19, 23, 26 April
3, 7, 10, 12 (10-13 hours), 14, 17, 21, 24 May
9-12 hrs unless otherwise indicated.

PROGRAM FILMOLOGY-ACADEMIC YEAR 2017-2018 LM (6CFU)- PROF.SSA PERNIOLA

Bibliography:
Ivelise Perniola, Gillo Pontecorvo o del cinema necessario, ETS, Pisa, 2016.

Filmography:

Gillo Pontecorvo:
Giovanna (1956)
La grande strada azzurra (1957)
Kapò (1959)
La battaglia di Algeri (1966)
Queimada (1969)
Ogro (1979)

The course addresses the contemporary theoretical debate on film and media, with a special focus on issues regarding the viewer's experience, especially for what concerns the topics of embodiment and emotion.
The first part of the course will take into account main trends in contemporary film and media theory. In the second part of the class it will be addressed the issue of cinematic emotion following a cognitive perspective.

1) Adriano D'Aloia, Ruggero Eugeni (eds.), Teorie del cinema. Il dibattito contemporaneo, Raffaello Cortina, Milano 2017.

2) Enrico Carocci, Il sistema schermo-mente. Cinema narrativo e coinvolgimento emozionale, Bulzoni, Roma 2018.

Italy seen from the beach. History and Italian society through the films of a seaside setting

Filmography:

Filmografia
Domenica d’agosto (1950) di Luciano Emmer
La spiaggia (1954) di Alberto Lattuada
Vacanze a Ischia (1957) di Mario Camerini
Leoni al sole (1961) di Vittorio Caprioli
Agostino (1962) di Mauro Bolognini
Il sorpasso (1962) di Dino Risi
La voglia matta (1962) di Luciano Salce
L’ombrellone (1965) di Dino Risi
Sapore di mare (1983) di Carlo Vanzina
Ferie d’agosto (1996) di Paolo Virzì
Vacanze al mare (2013) Ermanno Cavazzoni
L’ultima spiaggia (2016) di Thanos Anastopoulos, David De Degan 

R. Eugeni, Vacanza, in R. De Gaetano (a cura di), Lessico del cinema italiano, VOL. III, Mimesis, Milano 2016, pp. 359-404.
M. Comand, Dino Risi. Il sorpasso, Lindau, Torino 2002.
E. Giacovelli, La spiaggia, in Id., La commedia all’italiana, Gremese, Roma 1995, pp. 159-165
G. Fanara, Sulla sabbia c’era lei…, in «L’Avventura», 1/2015, pp. 67-84.
M. Zinni, In viaggio verso il boom: note su cinema e turismo in Italia tra ricostruzione e miracolo economico, in «Cinema e Storia», 2016, pp. 125-135.
N. Fullwood, Bodies, Bikinis, and Bras: Beaches and Nightclubs in Id., Cinema, Gender, and Everyday Space. Comedy, Italian Style, Palgrave Macmillan, New York 2015, pp. 65-94

PROGRAMMA FILMOLOGIA-ANNO ACCADEMICO 2017-2018 LM (6CFU)- PROF.SSA PERNIOLA

The filmology course includes an aesthetic and thematic analysis of the cinema of the Italian director Gillo Pontecorvo, known especially for his masterpiece La battaglia di Algeri (1966). During the course will be analyzed in detail all his five feature films, with a focus on language and aesthetic forms chosen by the author, characterized by a combination of classicism and modernity. We will also examine the critical aspects of his work and the ability to approach with great modernity themes until then little dealt with in the field of Italian cinema.

Lessons are given:
16, 19, 23, 26 April
3, 7, 10, 12 (10-13 hours), 14, 17, 21, 24 May
9-12 hrs unless otherwise indicated.

PROGRAM FILMOLOGY-ACADEMIC YEAR 2017-2018 LM (6CFU)- PROF.SSA PERNIOLA

Bibliography:
Ivelise Perniola, Gillo Pontecorvo o del cinema necessario, ETS, Pisa, 2016.

Filmography:

Gillo Pontecorvo:
Giovanna (1956)
La grande strada azzurra (1957)
Kapò (1959)
La battaglia di Algeri (1966)
Queimada (1969)
Ogro (1979)

The course addresses the contemporary theoretical debate on film and media, with a special focus on issues regarding the viewer's experience, especially for what concerns the topics of embodiment and emotion.
The first part of the course will take into account main trends in contemporary film and media theory. In the second part of the class it will be addressed the issue of cinematic emotion following a cognitive perspective.

1) Adriano D'Aloia, Ruggero Eugeni (eds.), Teorie del cinema. Il dibattito contemporaneo, Raffaello Cortina, Milano 2017.

2) Enrico Carocci, Il sistema schermo-mente. Cinema narrativo e coinvolgimento emozionale, Bulzoni, Roma 2018.

Reading Shakespeare. Questioning the materiality of texts and their dramatic composition, the course aims to analyze shakespearean plays as documents of the modern european theatre culture.

R. Guarino, Shakespeare: la scrittura nel teatro, Carocci.
W. Shakespeare, Amleto, a c. di A. Serpieri, Marsilio.
W. Shakespeare, Riccardo III, a c. di V. Gabrieli, Garzanti.
W. Shakespeare, Sogno di una notte di mezza estate, a c. di A. Lombardo e N. Fusini.
S. Greenblatt, Amleto in Purgatorio, Carocci.
L. Maguire e E. Smith, 30 grandi miti su Shakespeare, 0 barra 0.
Eventuali programmi o testi alternativi individuali vanno concordati con il docente.

PROBLEMS OF HISTORIOGRAPHY OF THE PLAY
a.a. 2017-2018
Dialettali d’eccezione – Exception Dialects. Viviani between Naples and Europe
(L-ART/05) 6 credits; master’s degree
Professor: Valentina Venturini

OBJECTIVES: To provide tools to face the study of the main problems posed by theatrical historiography, by tackling the theatrical cultures from time to time examined in relation to their historical context, to the operating modes that they have produced and the traditions that they have created.
PROGRAM: Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the analysis of films made out of the plays of Viviani (La tavola dei poveri, directed by A. Blasetti, 1932, and I dieci comandamenti, directed by M. Martone, 2000) and of unpublished documentary clips.

ATTENDING STUDENTS:
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Materials by the teacher (available at the Copy Center of v. Giulio Rocco n. 11)
4) FILM: "La tavola dei poveri" di A. Blasetti
5) FILM: "I dieci comandamenti" di M. Martone
[Warnings: the film is available to students at the Dams library, via Ostiense 139, floor -1]


NON ATTENDING STUDENTS:
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Franca Angelini, "Teatro e spettacolo nel primo Novecento", Bari-Roma, Laterza, 2009
4) Materiali a cura del docente (available at the Copy Center of v. Giulio Rocco n. 11)
5) FILM: "La tavola dei poveri" di A. Blasetti
6) FILM: "I dieci comandamenti" di M. Martone.
[Warnings: the film is available to students at the Dams library, via Ostiense 139, floor -1]

Course content: The course aims to provide students with the knowledge and tools critical to understanding the changes taking place in models and forms of participation in the modern public arena, generated by the ever closer interaction between political system and its actors, on the one hand, and media and communication system, on the other.
The first part of the course is devoted to the changes taking place within the public and political scene and the most important theoretical contributions. In the second part will be considered the main areas of transformation of political communication in relation to the recent history of Italy, and to the developement of the mass media. In the third part will analyze the role played by television and social media in the popularization of politics.
The course includes the viewing and analysis of audiovisual materials propaganda such television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Programma d'esame
- E. Novelli, La turbopolitica, Bur Rizzoli, Milano 2005 (sostituibile con altro concordato con il docente se già studiato per altri esami)
- C. Chepernich, Le campagne elettorali al tempo della networked politics, Roma-Bari, Laterza 2017.
- E.Novelli, Le campagne elettorali in italia, Roma-Bari, Laterza 2018 (in corso di pubblicazione).

In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of very controversial events, arena where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the author's death, theories of reception, art as social practice, the institutional definition of artistic value, cases of " non-recognition " and plagiarism politics, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of the social media in the production of artistic reputations and more in general in relation to the "arts worlds".
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia art.
The third part will address the relationship between theatre and civil society, with a special focus on the case of theatre in prisons.

1) A. L. Tota, Sociologie dell’arte. Dal museo tradizionale all’arte multimediale, Carocci, Roma, 2001.

2) Additional articles and essays available on the professor’s personal web page hosted on the website www.filcospe.it

'Embodying the Mind': feeling and emotions as preliminary conditions of our thinking an knowing.
Through the analysis of Santayana, Whitehead, Dewey and Husserl remarkable writings, the course means to illustrate the outlines of an Aesthetics conceived as a theory of primary, sensitive and not-intellectual conditions of our experience and knowledge.

-Edmund Husserl, La crisi delle scienze europee e la fenomenologia trascendentale, Milano, Il Saggiatore, 2008, pp. 55-208
-Paolo Marolda, Filosofia del sentire nel naturalismo americano, Roma, Bulzoni 2003.

a) Michael Jakob, «Il paesaggio», il Mulino 2009

b) Matteo Giancotti, «Paesaggi del trauma», Bompiani 2017

c) Andrea Zanzotto, «Luoghi e paesaggi», a cura di Matteo Giancotti, Bompiani 2013

d) plus one author, by choice, among:

Beppe Fenoglio, «Il libro di Johnny», edited by Gabriele Pedullà, Einaudi 2015

Guido Piovene, «Viaggio in Italia», Bompiani 2017

Andrea Zanzotto, «Tutte le poesie», edited by Stefano Dal Bianco, Mondadori 2011

Gianni Celati, «Verso la foce», Feltrinelli 2002 + Id., «Narratori delle pianure», Feltrinelli 2008 + Id., «Cinema all’aperto», Fandango 2011

e) to give a context in the 20th and 21st century italian literary history:
Giulio Ferroni, «Storia della letteratura italiana», vol. IV: «Il Novecento e il nuovo millennio», Milano, Mondadori Università, 2012

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical Works

Content of the Course Unit

Media shape culture; the digital media are reshaping culture today. This module introduces a combination of perspectives on media objects and practices of use: historical, cognitive, sociological, ethnographic, esthetical, and curatorial. Media technologies are studied as tools for research (digital humanities), for education, and as curatorial tools used for presentation and mediation. The course is divided into three parts: 1) Media as systems of representation; 2) Media as cultural industry, 3) Media as technology. Each part is addressed first in theoretical terms and subsequently explored through selected cases studies and, occasionally, through the contribution of media practitioners.

Learning Outcomes
Upon successful completion of the course unit, students are able to:
- Use the main theoretical and methodological approaches in analyzing the relationship between media and culture, with particular reference to Sociology and Cultural Studies
- Understand the key role of media in “shaping culture” and in the process through which culture and its (both symbolic and material, tangible and non tangible) expressions are assigned meaning and (aesthetic, social, economic, etc.) value
- Understand how the role of media in “shaping culture” has changed with the diffusion of digital technologies/environments, user-generated contents, the shift from “broadcast cultures” to “participative cultures”
- Deconstruct media representations of culture and its expressions, and uncover the functioning of discourses on culture that are reproduced by the media
- Understand the role and functioning of media as a cultural/creative industry, whose products are forms of culture in their own right (notion of “cultural reflexivity”)
- Develop their own analysis of media texts
- Effectively use media technologies and languages in cultural sector-related professions: as tools for research (digital humanities), for education, and as curatorial tools

Calculation of student workload
The seminar comprises 6 EC = 125 hrs. Breakdown in different tasks for the course:

Attendance meetings: 30 hrs
Studying compulsory readings in preparation of meetings: 30 hrs
Group assignment: 10
Individual assignment 1: 20
Individual assignment 2: 35
Total: 125

Assessment

Final evaluation ranges between the score of 18 out of 30 points and 30 out of 30 points. Students will be graded based upon three assignments:

1. Group assignment (score ranges between 0 and 4 points
2. Individual assignment n. 1 (score ranges between 0 and 14 points)
3. Individual assignment n. 2 (score ranges between 0 and 12 points)

Group assignement
In every meeting, a small group (2-3 persons, depending on the total number of students) presents one of the compulsory readings attributed for that meeting. Students are expected to effectively expose the content of the readings and to give their personal contribution. This can consists of an analysis of one of the aspects/topics/analytical categories addressed by the reading(s) and/or of a set of research questions, solicited by the readings, that students formulate on their own. At the beginnin of the course, students wil be asked to express their preferences for the date and content of their presentation.

Individual assignment n. 1
The first individual assignment consists of a written exam on the contents of compulsory readings, that students are expect to study throughout the entire Course, in preparation of each meeting (30 hrs of esitmated workload), and to review in preparation of the exam (20 hrs of estimated workload). This exam will take place within the second half of june.

Individual assignment n. 2
The second individual assignment consists of a short research paper (4-5 pages) on the topic of landscape and/in media representation. Deadline for paper sumbitting is the end of June. Further details (methodology, overall organisation, etc.) will be provided as the course begins.

* Students interested in taking this course are kindly requested to contact Dr. Giomi in order to access the folder containing teaching materials and readings (elisa.giomi@uniroma3.it). Lessons will take place in Aula 13A, at Dipartimento di Studi Aziendali, V. Silvio D'Amico 77

Day to Day program and Readings

FIRST WEEK
Lesson 1 – Dr Giomi
27.4.2018
The first lesson aims to answer the following questions: 1) why study the Media in a Cultural Leadership Course?, and 2) how to study the Media in a Cultural Leadership Perspective? We will be exploring the role of media in society, their shaping and reshaping culture, and their being deeply embedded in the “texture” of our everyday life experience. Secondly, we will be describing the course approach, that consider the media as cultural industries, systems of representation and technologies. We will subsequently start to illustrate preliminary and basic notions about the Media, starting from their evolution from the early days of printing in the late Middle Ages to the present age of information communication technology and the information society.

Readings
• “The texture of experience”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 1-12.
• On the MAG episode, that will be discussed in class: https://www.newcriterion.com/blogs/dispatch/make-art-history-great-again
• “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 35-59. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)

SECOND WEEK
Lesson 2 – Dr Giomi
2.05.2018 - What are the media?
In this lesson, some of the main concepts and models involved in the study of the media will be addressed. Topic include; the “mass” concept, the “mass audience”; “mass” and “popular culture”; the shift from broadcasting and mass audience to new media and participatory culture.

Readings
• “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 61-89. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)
• “What is new about new media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 145-173 (compulsory for everyone and individual assignment n. 1: to be presented by one or two students; provided by Dr. Giomi)

Lesson 3 – Dr Giomi
4.05.2017 - Media and Culture
In this lesson, the relationship between media and culture is approached, grounding on the assumption that it is impossible now to distinguish between a sphere of culture and that of media. An overview is provided of the Culturalist perspective on mass media, that considers all the different aspects of media at once: their content (that is, media representations), the context of media production and reception, and all the surrounding practices (media as cultural industry and technologies). In order to highlight the contribution of the Culturalist perspective, we will start by comparing common sense definitions of “culture” - provided by contemporary popular media texts, such as TV talk shows and magazine articles – to the definitions elaborated by the main Culturalist theories: the Frankfurt School and critical cultural theory, British Cultural Studies and their redemption of the popular. Other topics include: commercialization of culture; communication technology and culture.

Readings
• Voices “Culture” and “Cultural Theory” in The Sage Dictionary in Cultural Studies, Sage, London (4 pages in total). (compulsory: to be read before lesson; provided by Dr. Giomi)
• “Mass Communication and culture” di McQuail, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 121-144. (compulsory for everyone and to be presented by one or two students; provided by Dr. Giomi)
• Stuart Hall, “Cultural Studies and the Center: some problematics and problems”, in Culture, Media, Language. Working Papers in Cultural Studies 1972-1979, Hutchinson, London, pp.15-47 (non compulsory, provided by Dr. Giomi)

THIRD WEEK
Lesson 4 and Lesson 5
9.05.2018 and 11.05.2018 - Media as systems of representation: power, ideology, meaning
The first dimension of analysis of the media is addressed starting from the description of the mediation process, with specific focus on what is mediated (the meaning) and to the process by which meaning is given and taken (signification). The processes of meaning production are signifying practices and to understand culture is to explore how meaning is produced symbolically as forms of representation. This issue is approached through the theoretical tools elaborated by those Cultural Studies scholars who have focused on the questions of representation with an especial emphasis on the ways by which the world is socially constructed and represented to and by us. Issues that will be explored include: how representation is bound up with questions of power; the “politics of representation”; meaning and ideology: These issues and analytical categories will be applied to the analysis of a media product that had built up a cult following; the Twilight saga. Different and “competing” readings of this product and of its ideology will be compared in order to underline the “politics of representation” that is at work here.

Readings

• “Mediation”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 13-18. (non compulsory)
• Voice “Representation” in The Sage Dictionary in Cultural Studies, Sage, London (2 pages). (compulsory, provided by Dr. Giomi)
• “Introduction”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 1-8. (compulsory, provided by Dr. Giomi)
• “Meaning, representation and power”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 13-38. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Durham, M.G. [2012], Blood, lust and love, in «Journal of Children and Media», 6, 3, pp. 281-299. (compulsory and to be presented by one or two students, provided by Dr. Giomi)
• Franiuk, R., Scherr, S. [2013], The lion fell in love with the lamb, in «Feminist Media Studies», 13,1, pp. 14-28. (non compulsory)
To be watched before lesson n. 5: Twilight (film n. 1 of the saga)


FOURTH WEEK
Lesson 6 – Dr Giomi
18.05.2018 - Media as Cultural industry: the process of value production
In these lessons the processes of mediation and of meaning production will explored in relation to the economic, institutional and political forms of its organization. We will address how these forms have changed during the twentieth century, as well as issue of ownership and control of the cultural industries, and how these impact on meaning production. We will ground on the assumption that industry is central to controlling the circulation of meaning in society. Different types of cultural industry will therefore be explored, as well as how interactive technologies have changed the production of culture. The discourse then moves on to analyzing the relations between media (considered as both representations and as cultural industries) and “value”: media as actors contributing to the negotiation process through which culture and its (both symbolic and material) expressions are assigned meaning and (aesthetic, social, economic, etc.) values. The focal point is that there are principles of production of value laid out within the old media technologies that are still active and valid for the new media. The conceptualization of value in media (and other) production in terms of political economy (value in use or exchange) vs. other ways of understanding value, such as value as symbolic exchange; the relation of these two principles of value generation to each other as the key factor in understanding how value is created in both production and consumption. Issues that are explored include how value changes in changing media

Readings

• “The industrial production of meaning”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57. (compulsory, provided by Dr. Giomi)
• “Introduction”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory, provided by Dr. Giomi)
• “Media production and cultural industries”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016 (non compulsory)

FIFTH WEEK
Lesson 7 – Dr Giomi
25.5.2018 - Media production, value production: the case of “Nordic noir” and of European TV crime series
In this lesson, the dynamic and process of value production will be explored taking as a case study that of “Nordic Noir” and of European TV crime series. Nordic Noir, or Scandinoir, defines a form of Scandinavian crime fiction whose most popular TV expressions come from Sweden and Denmark (the TV series Wallander, 2005–2014; Forbrydelsen/The Killing, 2007–2012, and Broen/The Bridge, 2011–present). Nordic Noir has had a global influence in Europe (to the point that Netflix has created a specific category, “European Crime Drama”) as well as outside Europe, and has helped in reinventing a new breed of miniseries, one that is uniquely suited to the requirements of the new broadcasting age. Such influence can be felt at many levels (aesthetic, narrative, ideological, moral, etc.). We will take into exam the visual one, focusing on the role of landscape. Landscape has become a distinctive feature of Nordic Noir, part of its appeal, an “entertainment value” in its own, and a “trade-mark” of quality (a presence, that is, indicating high aesthetic and production standards). At the same time, Nordic Noir has played a key role in producing the (aesthetic and economic) value of Scandinavian countries (the “Sweden trade-mark”): the portrayal of their landscapes offered by TV representations and their peculiar atmosphere have contributed to the “typification” of Scandinavian countries in collective cultural imagery, making these countries popular over the world and boosting their tourism. The same has happened with the so-called “Celtic Noir” such as Broadchurch, 2013–present; Southcliffe, 2013, Gwyll/Hinterland, 2013, Shetland 2013-present (all shot in the UK), and, more in general, with procedural recently produced in other European countries, ranging from Iceland to Finland, Norway, Belgium, France, Italy, Germany, and the Netherlands. Examining the “landscape in Nordic Noir” case will serve the goal of laying down the theoretical and methodological background that will be used in the study of the Roman Aqueduct System case

Tv series (to be viewed at home)
First episode of Wallander, 2005–2014
or
Forbrydelsen/The Killing, 2007–2012
or
Broen/The Bridge, 2011–present
plus
Broadchurch, 2013
or
Gwyll/Hinterland, 2013
or
Shetland 2013-present
plus
Glacé /The Froezen Dead (2017)
(others will be indicated later)

Readings

• Creeber, G. [2015], Killing us softly: Investigating the aesthetics,philosophy and influence of Nordic Noir Television, in «Journal of Popular Television», 3, 1, pp. 21-35. (non compulsory, provided by Dr Giomi)
• Marit Waade, A., Melancholy in Nordic noir: Characters, landscapes, light and music, «Critical Studies in Television», First Published December 19, 2017 (compulsory; provided by Dr. Giomi )
• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, «New Review of Film and Television Studies», 2016, VOL . 14, NO. 3, 364–385 (compulsory and to be presented by one or two students; provided by Dr. Giomi)


SIXTH WEEK
Lesson 8 – Dr Giomi and Dr Addamiano
25.05.2018 Inter-modules case study: the Roman Aqueduct System
In this lesson, that is common to the Media Module and to the Sustainability and Cultural Awareness Module, the Roman Aqueduct System case study is addressed by means of a multidisciplinary perspective. We will analyze the ‘narrative stratification’ the Aqueduct has undergone in and through its numerous representations diffused by diverse media over the last 50 years. The goal is to deconstruct the overlapping “layers of meaning” that media storytelling has been accumulating so far. Drawing on the theoretical and methodological base provided in the previous lesson (especially in the one about Noridc Noir), we will focus on the role of landscape in media representations and value production. Research questions are: 1) how have the Aqueduct, its relation to the territory and its inhabitants, and to Italian society at large, been framed and represented by movies, documentaries, TV series, digital narratives produced in different historical moments? 2) How have these narratives/discursive constructions contributed to produce the (varying) value(s) of the Aqueduct and of its territory and landscape in different historical moments?
Films that will be screened and analysed during the lesson are:
- Mamma Roma (P. Pasolini, 1962 - English version available)
- The Great Beauty (P. Sorrentino, 2013 - English version available)
- Fortunata (S. Castellito, 2017 - English version not available: a montage will be shown and illustrated)
In each of them, the Aqueduct is a heritage element that connotes the territory, the environment, its social tissue in completely different ways.


SEVENTH WEEK
Lesson 9 and Lesson 10 – Prof Dr Van den Oever, University of Groningen
30.05.2018 and 31.05.2018 - (New) Media Technologies and Value Creation: Museums & Media Curating
Central to this last part of the course is the question of (new) media technologies and value creation. All the processes associated with the double role of media as systems of representation and media as a cultural industry in its own right, have become increasingly intense and have been reconfigured by the diffusion of digital technologies/environments, user-generated contents, and the shift from “broadcast cultures” to “participative cultures”.
This last week, we will explore the question of media from the perspective of a study of media as technologies which tend to have a specific material and sensorial makeup, and a specific impact on representation, audience experience, and practices of use. Media will be considered in their role as new media technologies which first have an impact (individually, culturally) and create novelty experiences; and next become part of a practice of media use in which they eventually may become old and obsolete (e.g., the typewrite) and are to be replaced by new devices (e.g., the pc, the tablet, the smartphone).
In order to highlight how media as specific information, communication, and visualization technologies impact on production and consumption processes, and on the entire “value production chain”, we will address the question: which specific role do media technologies play in the production of aesthetic, political, economic, and cultural value?
The examples to focus on will be related to media use in museums and big heritage institutions.

Readings

o Silverstone, R. [1988] “Museums and the media: A theoretical and methodological exploration.” In: The International Journal of Museum Management and Curatorship. pp. 231-241. Available online.
o Peters, Benjamin. [2009] “And lead us not into thinking the new is new: a bibliographic case for new media history.” Available online.
o Fossati, Giovanna. [2009] “Framing Film (in Transition): an Introduction.” In From Grain to Pixel. The Archival Life of Film in Transition. pp. 13-32. Digital file attached.
o Odin, Roger. [2016] “Cinema in My Pocket.” In: Exposing the Film Apparatus. The Film Archive as a Research Lab. Giovanna Fossati and Annie van den Oever, eds., pp. 45-53. Digital file attached.
o Kittler, Friedrich. [1996] “The History of Communication Media.” Published online in ctheory http://www.ctheory.net/articles.aspx?id=45 Available online.
o (For optional reading) Fossati, Giovanna, and Annie van den Oever. [2016] “Introduction”. In Exposing the Film Apparatus. The Film Archive as a Research Lab. pp. 13-37. Digital file attached.































Day to Day program and Readings


FIRST WEEK

Lesson 1 – Dr Giomi
27. 4.2018


The first lesson aims to answer the following questions: 1) why study the Media in a Cultural Leadership Course?, and 2) how to study the Media in a Cultural Leadership Perspective?
We will be exploring the role of media in society, their shaping and reshaping culture, and their being deeply embedded in the “texture” of our everyday life experience. Secondly, we will be describing the course approach, that consider the media as cultural industries, systems of representation and technologies. We will subsequently start to illustrate preliminary and basic notions about the Media, starting from their evolution from the early days of printing in the late Middle Ages to the present age of information communication technology and the information society.

Readings
• “The texture of experience”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 1-12.
• On the MAG episode, that will be discussed in class: https://www.newcriterion.com/blogs/dispatch/make-art-history-great-again
• “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 35-59.


SECOND WEEK


Lesson 2 – Dr Giomi
2.05.2018
What are the media?

In this lesson, some of the main concepts and models involved in the study of the media will be addressed. Topic include; the “mass” concept, the “mass audience”; “mass” and “popular culture”; the shift from broadcasting and mass audience to new media and participatory culture.

Readings
• “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 61-89. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)
• “What is new about new media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 145-173 (individual assignment n. 1: to be presented by one or two students; provided by Dr. Giomi)

Lesson 3 – Dr Giomi
4.05.2017
Media and Culture

In this lesson, the relationship between media and culture is approached, grounding on the assumption that it is impossible now to distinguish between a sphere of culture and that of media. An overview is provided of the Culturalist perspective on mass media, that considers all the different aspects of media at once: their content (that is, media representations), the context of media production and reception, and all the surrounding practices (media as cultural industry and technologies). In order to highlight the contribution of the Culturalist perspective, we will start by comparing common sense definitions of “culture” - provided by contemporary popular media texts, such as TV talk shows and magazine articles – to the definitions elaborated by the main Culturalist theories: the Frankfurt School and critical cultural theory, British Cultural Studies and their redemption of the popular. Other topics include: commercialization of culture; communication technology and culture.

Readings
• Voices “Culture” and “Cultural Theory” in The Sage Dictionary in Cultural Studies, Sage, London (4 pages in total). (compulsory: to be read before lesson; provided by Dr. Giomi)
• “Mass Communication and culture” di McQuail, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 121-144. (compulsory for everyone and to be presented by one or two students; provided by Dr. Giomi)
• Stuart Hall, “Cultural Studies and the Center: some problematics and problems”, in Culture, Media, Language. Working Papers in Cultural Studies 1972-1979, Hutchinson, London, pp.15-47 (non compulsory, provided by Dr. Giomi)


THIRD WEEK

Lesson 4 and Lesson 5
9.05.2018 and 11.05.2018
Media as systems of representation: power, ideology, meaning

The first dimension of analysis of the media is addressed starting from the description of the mediation process, with specific focus on what is mediated (the meaning) and to the process by which meaning is given and taken (signification). The processes of meaning production are signifying practices and to understand culture is to explore how meaning is produced symbolically as forms of representation. This issue is approached through the theoretical tools elaborated by those Cultural Studies scholars who have focused on the questions of representation with an especial emphasis on the ways by which the world is socially constructed and represented to and by us. Issues that will be explored include: how representation is bound up with questions of power; the “politics of representation”; meaning and ideology: These issues and analytical categories will be applied to the analysis of a media product that had built up a cult following; the Twilight saga. Different and “competing” readings of this product and of its ideology will be compared in order to underline the “politics of representation” that is at work here.

Readings:

• “Mediation”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 13-18. (non compulsory)
• Voice “Representation” in The Sage Dictionary in Cultural Studies, Sage, London (2 pages). (compulsory, provided by Dr. Giomi)
• “Introduction”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 1-8. (compulsory, provided by Dr. Giomi)
• “Meaning, representation and power”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 13-38. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Durham, M.G. [2012], Blood, lust and love, in «Journal of Children and Media», 6, 3, pp. 281-299. (compulsory and to be presented by one or two students, provided by Dr. Giomi)
• Franiuk, R., Scherr, S. [2013], The lion fell in love with the lamb, in «Feminist Media Studies», 13,1, pp. 14-28. (non compulsory)
To be watched before lesson n. 5: Twilight (film n. 1 of the saga)


FOURTH WEEK

Lesson 6 – Dr Giomi
18.05.2018
Media as Cultural industry: the process of value production

In these lessons the processes of mediation and of meaning production will explored in relation to the economic, institutional and political forms of its organization. We will address how these forms have changed during the twentieth century, as well as issue of ownership and control of the cultural industries, and how these impact on meaning production. We will ground on the assumption that industry is central to controlling the circulation of meaning in society. Different types of cultural industry will therefore be explored, as well as how interactive technologies have changed the production of culture. The discourse then moves on to analyzing the relations between media (considered as both representations and as cultural industries) and “value”: media as actors contributing to the negotiation process through which culture and its (both symbolic and material) expressions are assigned meaning and (aesthetic, social, economic, etc.) values. The focal point is that there are principles of production of value laid out within the old media technologies that are still active and valid for the new media. The conceptualization of value in media (and other) production in terms of political economy (value in use or exchange) vs. other ways of understanding value, such as value as symbolic exchange; the relation of these two principles of value generation to each other as the key factor in understanding how value is created in both production and consumption. Issues that are explored include how value changes in changing media

Readings

• “The industrial production of meaning”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57. (compulsory, provided by Dr. Giomi)
• “Introduction”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory, provided by Dr. Giomi)
• “Media production and cultural industries”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016 (non compulsory)

FIFTH WEEK
Lesson 7 – Dr Giomi
25.5.2018

Media production, value production: the case of “Nordic noir” and of European TV crime series

In this lesson, the dynamic and process of value production will be explored taking as a case study that of “Nordic Noir” and of European TV crime series. Nordic Noir, or Scandinoir, defines a form of Scandinavian crime fiction whose most popular TV expressions come from Sweden and Denmark (the TV series Wallander, 2005–2014; Forbrydelsen/The Killing, 2007–2012, and Broen/The Bridge, 2011–present). Nordic Noir has had a global influence in Europe (to the point that Netflix has created a specific category, “European Crime Drama”) as well as outside Europe, and has helped in reinventing a new breed of miniseries, one that is uniquely suited to the requirements of the new broadcasting age. Such influence can be felt at many levels (aesthetic, narrative, ideological, moral, etc.). We will take into exam the visual one, focusing on the role of landscape. Landscape has become a distinctive feature of Nordic Noir, part of its appeal, an “entertainment value” in its own, and a “trade-mark” of quality (a presence, that is, indicating high aesthetic and production standards). At the same time, Nordic Noir has played a key role in producing the (aesthetic and economic) value of Scandinavian countries (the “Sweden trade-mark”): the portrayal of their landscapes offered by TV representations and their peculiar atmosphere have contributed to the “typification” of Scandinavian countries in collective cultural imagery, making these countries popular over the world and boosting their tourism. The same has happened with the so-called “Celtic Noir” such as Broadchurch, 2013–present; Southcliffe, 2013, Gwyll/Hinterland, 2013, Shetland 2013-present (all shot in the UK), and, more in general, with procedural recently produced in other European countries, ranging from Iceland to Finland, Norway, Belgium, France, Italy, Germany, and the Netherlands. Examining the “landscape in Nordic Noir” case will serve the goal of laying down the theoretical and methodological background that will be used in the study of the Roman Aqueduct System case

Tv series (to be viewed at home)
First episode of Wallander, 2005–2014
or
Forbrydelsen/The Killing, 2007–2012
or
Broen/The Bridge, 2011–present
plus
Broadchurch, 2013
or
Gwyll/Hinterland, 2013
or
Shetland 2013-present
plus
Glacé /The Froezen Dead (2017)
(others will be indicated later)


Readings:
• Creeber, G. [2015], Killing us softly: Investigating the aesthetics,philosophy and influence of Nordic Noir Television, in «Journal of Popular Television», 3, 1, pp. 21-35. (non compulsory, provided by Dr Giomi)
• Marit Waade, A., Melancholy in Nordic noir: Characters, landscapes, light and music, «Critical Studies in Television», First Published December 19, 2017 (compulsory; provided by Dr. Giomi )

• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, «New Review of Film and Television Studies», 2016, VOL . 14, NO. 3, 364–385 (compulsory and to be presented by one or two students; provided by Dr. Giomi)


SIXTH WEEK

Lesson 8 – Dr Giomi and Dr Addamiano
25.05.2018 Inter-modules case study: the Roman Aqueduct System.

In this lesson, that is common to the Media Module and to the Sustainability and Cultural Awareness Module, the Roman Aqueduct System case study is addressed by means of a multidisciplinary perspective. We will analyze the ‘narrative stratification’ the Aqueduct has undergone in and through its numerous representations diffused by diverse media over the last 50 years. The goal is to deconstruct the overlapping “layers of meaning” that media storytelling has been accumulating so far. Drawing on the theoretical and methodological base provided in the previous lesson (especially in the one about Noridc Noir), we will focus on the role of landscape in media representations and value production. Research questions are: 1) how have the Aqueduct, its relation to the territory and its inhabitants, and to Italian society at large, been framed and represented by movies, documentaries, TV series, digital narratives produced in different historical moments? 2) How have these narratives/discursive constructions contributed to produce the (varying) value(s) of the Aqueduct and of its territory and landscape in different historical moments?
Films that will be screened and analysed during the lesson are:
- Mamma Roma (P. Pasolini, 1962 - English version available)
- The Great Beauty (P. Sorrentino, 2013 - English version available)
- Fortunata (S. Castellito, 2017 - English version not available: a montage will be shown and illustrated)
In each of them, the Aqueduct is a heritage element that connotes the territory, the environment, its social tissue in completely different ways.


SEVENTH WEEK

Lesson 9 and Lesson 10 – Prof Dr Van den Oever, University of Groningen
30.05.2018 and 31.05.2018
(New) Media Technologies and Value Creation: Museums & Media Curating

Central to this last part of the course is the question of (new) media technologies and value creation. All the processes associated with the double role of media as systems of representation and media as a cultural industry in its own right, have become increasingly intense and have been reconfigured by the diffusion of digital technologies/environments, user-generated contents, and the shift from “broadcast cultures” to “participative cultures”.
This last week, we will explore the question of media from the perspective of a study of media as technologies which tend to have a specific material and sensorial makeup, and a specific impact on representation, audience experience, and practices of use. Media will be considered in their role as new media technologies which first have an impact (individually, culturally) and create novelty experiences; and next become part of a practice of media use in which they eventually may become old and obsolete (e.g., the typewrite) and are to be replaced by new devices (e.g., the pc, the tablet, the smartphone).
In order to highlight how media as specific information, communication, and visualization technologies impact on production and consumption processes, and on the entire “value production chain”, we will address the question: which specific role do media technologies play in the production of aesthetic, political, economic, and cultural value?
The examples to focus on will be related to media use in museums and big heritage institutions.


Readings:
o Silverstone, R. [1988] “Museums and the media: A theoretical and methodological exploration.” In: The International Journal of Museum Management and Curatorship. pp. 231-241. Available online.
o Peters, Benjamin. [2009] “And lead us not into thinking the new is new: a bibliographic case for new media history.” Available online.
o Fossati, Giovanna. [2009] “Framing Film (in Transition): an Introduction.” In From Grain to Pixel. The Archival Life of Film in Transition. pp. 13-32. Digital file attached.
o Odin, Roger. [2016] “Cinema in My Pocket.” In: Exposing the Film Apparatus. The Film Archive as a Research Lab. Giovanna Fossati and Annie van den Oever, eds., pp. 45-53. Digital file attached.
o Kittler, Friedrich. [1996] “The History of Communication Media.” Published online in ctheory http://www.ctheory.net/articles.aspx?id=45 Available online.
o (For optional reading) Fossati, Giovanna, and Annie van den Oever. [2016] “Introduction”. In Exposing the Film Apparatus. The Film Archive as a Research Lab. pp. 13-37. Digital file attached.

COMPULSORY READINGS
• “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 35-59.
• “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 61-89. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)
• “What is new about new media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 145-173 (compulsory for everyone and individual assignment n. 1: to be presented by one or two students; provided by Dr. Giomi)
• Voices “Culture” and “Cultural Theory” in The Sage Dictionary in Cultural Studies, Sage, London (4 pages in total). (compulsory: to be read before lesson; provided by Dr. Giomi)
• “Mass Communication and culture” di McQuail, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 121-144. (compulsory for everyone and to be presented by one or two students; provided by Dr. Giomi)
• Voice “Representation” in The Sage Dictionary in Cultural Studies, Sage, London (2 pages). (compulsory, provided by Dr. Giomi)
• “Introduction”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 1-8. (compulsory, provided by Dr. Giomi)
• “Meaning, representation and power”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 13-38. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Durham, M.G. [2012], Blood, lust and love, in «Journal of Children and Media», 6, 3, pp. 281-299. (compulsory and to be presented by one or two students, provided by Dr. Giomi)
• "The industrial production of meaning”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57. (compulsory, provided by Dr. Giomi)
• “Introduction”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory, provided by Dr. Giomi)
• “Media production and cultural industries”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Marit Waade, A., Melancholy in Nordic noir: Characters, landscapes, light and music, «Critical Studies in Television», First Published December 19, 2017 (compulsory; provided by Dr. Giomi )
• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, «New Review of Film and Television Studies», 2016, VOL . 14, NO. 3, 364–385 (compulsory and to be presented by one or two students; provided by Dr. Giomi)
o Silverstone, R. [1988] “Museums and the media: A theoretical and methodological exploration.” In: The International Journal of Museum Management and Curatorship. pp. 231-241. Available online.
o Peters, Benjamin. [2009] “And lead us not into thinking the new is new: a bibliographic case for new media history.” Available online.
o Fossati, Giovanna. [2009] “Framing Film (in Transition): an Introduction.” In From Grain to Pixel. The Archival Life of Film in Transition. pp. 13-32. Digital file attached.
o Odin, Roger. [2016] “Cinema in My Pocket.” In: Exposing the Film Apparatus. The Film Archive as a Research Lab. Giovanna Fossati and Annie van den Oever, eds., pp. 45-53. Digital file attached.
o Kittler, Friedrich. [1996] “The History of Communication Media.” Published online in ctheory http://www.ctheory.net/articles.aspx?id=45 Available online.


OPTIONAL READINGS
• The texture of experience”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 1-12.
• On the MAG episode, that will be discussed in class: https://www.newcriterion.com/blogs/dispatch/make-art-history-great-again
• Stuart Hall, “Cultural Studies and the Center: some problematics and problems”, in Culture, Media, Language. Working Papers in Cultural Studies 1972-1979, Hutchinson, London, pp.15-47 (non compulsory, provided by Dr. Giomi)
• “Mediation”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 13-18. (non compulsory)
• Franiuk, R., Scherr, S. [2013], The lion fell in love with the lamb, in «Feminist Media Studies», 13,1, pp. 14-28. (non compulsory)
• “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016 (non compulsory)
• Creeber, G. [2015], Killing us softly: Investigating the aesthetics,philosophy and influence of Nordic Noir Television, in «Journal of Popular Television», 3, 1, pp. 21-35. (non compulsory, provided by Dr Giomi)
• (For optional reading) Fossati, Giovanna, and Annie van den Oever. [2016] “Introduction”. In Exposing the Film Apparatus. The Film Archive as a Research Lab. pp. 13-37. Digital file attached.

The course will address:
- first of all, how to build a format in contemporary television, considering the idea of format and its differences from other theoretical perspectives, such as the narrative genre and genres of production; the course will then address a few case studies, as presented in the textbook, considering examples of great interest or success in a national and international perspective.
- The course will hence focus on vast narratives in television series; it will address a few main theories about contemporary narratives, but it will also consider the industrial context of production in relation with global economies. The course will focus on a few examples, significant for the radical changes of the last 30 years.

Veronica Innocenti e Marta Perrotta (eds.), Factual, Reality, Makeover. Lo spettacolo della trasformazione nella televisione contemporanea, Bulzoni, Rome 2013

Guglielmo Pescatore (ed.), Ecosistemi narrativi: dal fumetto alla serie TV, Carocci, Rome, 2018

A voyage in about three decades of narratives for the big and the small screen, with the second generation immigrants as leads, behind and before the camera. The battle for a new nationality law showed the presence of groups resisting the redefinition of the main narrative on Italianness. The fears raised by the attacks in the heart of the Europe joined the return of some “race figures” linked to the past of Italy, as a country involved in dynamics of power and abuse on subaltern groups, from slavery to colonialism to biopolitical governance of the immigration.

Bibliography:
Leonardo De Franceschi, Cittadinanze visuali. L’italianità negli anni della battaglia per lo ius soli (Roma, Aracne Editrice, in preparation);
plus an online collection of articles, edited by the professor.
Filmography:
currently under discussion.

The course will address:
- first of all, how to build a format in contemporary television, considering the idea of format and its differences from other theoretical perspectives, such as the narrative genre and genres of production; the course will then address a few case studies, as presented in the textbook, considering examples of great interest or success in a national and international perspective.
- The course will hence focus on vast narratives in television series; it will address a few main theories about contemporary narratives, but it will also consider the industrial context of production in relation with global economies. The course will focus on a few examples, significant for the radical changes of the last 30 years.

Veronica Innocenti e Marta Perrotta (eds.), Factual, Reality, Makeover. Lo spettacolo della trasformazione nella televisione contemporanea, Bulzoni, Rome 2013

Guglielmo Pescatore (ed.), Ecosistemi narrativi: dal fumetto alla serie TV, Carocci, Rome, 2018

The course investigates the film analysis through the “beginnings” and the “endings” of some movies: on one side, a few Spanish language films analyzed in English by an American scholar; on the other side, the “un-happy endings” of di Hollywood director Frank Capra, who isn’t well known among the younger generations. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

Richard K. Curry, The First Few Minutes of Spanish Language Films. Early Cues Reveal the Essence, Jefferson, MacFarland, 2017.

Vito Zagarrio The Un-Happy Ending. Re-viewing the cinema of Frank Capra, New York: Bordighera Press, 2011

A voyage in about three decades of narratives for the big and the small screen, with the second generation immigrants as leads, behind and before the camera. The battle for a new nationality law showed the presence of groups resisting the redefinition of the main narrative on Italianness. The fears raised by the attacks in the heart of the Europe joined the return of some “race figures” linked to the past of Italy, as a country involved in dynamics of power and abuse on subaltern groups, from slavery to colonialism to biopolitical governance of the immigration.

Bibliography:
Leonardo De Franceschi, Cittadinanze visuali. L’italianità negli anni della battaglia per lo ius soli (Roma, Aracne Editrice, in preparation);
plus an online collection of articles, edited by the professor.
Filmography:
currently under discussion.

The course presents different aspects of historical research methodology, meant both as a set of operational tools and techniques, and as an historical theory. The concept of the Global History will be examined.
The first part of the course (12 hours) introduces the main elements of the history of historiography starting from the birth of the discipline during the nineteenth century. The second part of the course (12 hours) addresses the theoretical and methodological aspects of the use of historical sources with particular attention to "new sources" and dynamic use. The third and final part of the course (12 hours) focuses on the monographic theme of Global History.

- G. De Luna, La Passione e la ragione. Il mestiere dello storico contemporaneo, Milano, Bruno Mondadori, 2004 (pp. 259, € 20,00)

A book to be chosen from:
- E. Vanhaute, Introduzione alla World History, Bologna, il Mulino, 2015 (pp. 272, € 25,00)
- S. Conrad, Storia globale. Un’introduzione, Roma, Carocci, 2015 (pp. 212, € 19,00)

Reading it is suggested:
- S. Gruzinski, Abbiamo ancora bisogno della storia? Il senso del passato nel mondo globalizzato, Milano, Raffaello Cortina, 2016 (pp. 166, € 18,00)

A voyage in about three decades of narratives for the big and the small screen, with the second generation immigrants as leads, behind and before the camera. The battle for a new nationality law showed the presence of groups resisting the redefinition of the main narrative on Italianness. The fears raised by the attacks in the heart of the Europe joined the return of some “race figures” linked to the past of Italy, as a country involved in dynamics of power and abuse on subaltern groups, from slavery to colonialism to biopolitical governance of the immigration.

Bibliography:
Leonardo De Franceschi, Cittadinanze visuali. L’italianità negli anni della battaglia per lo ius soli (Roma, Aracne Editrice, in preparation);
plus an online collection of articles, edited by the professor.
Filmography:
currently under discussion.

The course deals with the theory and the analysis of musical performance, both in terms of a specifically musicological approach (vocal and instrumental performance practices from the Baroque to the twentieth century), and on that of cultural history. In particular, it will be examined the figure of Maria Callas, also in the relations with the social context and with other arts (literature, theater, cinema, art, media).

- Selected essays which will be communicated at the beginning of the lessons
- "Mille e una Callas. Voci e studi", a cura di Luca Aversano e Jacopo Pellegrini, II ed., Quodlibet, Macerata 2017.

Additional materials for student non attending the lessons:
Book of free choice among:
Enrico Careri, Studi su esecuzione e interpretazione. Vivaldi, Schubert, E.A. Mario, Lim, Lucca 2014; Arturo Toscanini: il direttore e l'artista mediatico, a cura di Marco Capra e Ivano Cavallini, Lim, Lucca 2011; Davide Bertotti, Il direttore d'orchestra da Wagner a Furtwängler : l'illustre aberrazione, L’epos, Palermo 2005; Hans-Heinrich Unger, Musica e retorica fra XVI e XVIII secolo, a cura di Elisabetta Zoni, Alinea Editrice, Firenze 2003; Ivano Cavallini, Il direttore d’orchestra. Genesi e storia di un’arte, Marsilio, Venezia 1998; Piero Rattalino, Storia del pianoforte, Il Saggiatore, Milano 2008; Bernard Sherman, Interviste sulla musica antica. Dal canto gregoriano a Monteverdi, Edt, Torino 2002.

The course develops aesthetic issues relating to synergies / discrepancies between sounds and movie pictures, starting from poetics of four Masters of the twentieth century.

Testoni, Marco, Musica e visual media, Audino Editore, Roma 2016 (as an alternative, MICELI, Sergio, Film music: history, aesthetic-analysis, typologies,
edited and translated by Marco Alunno, Braunwin Sheldrick, Milano Ricordi - Lucca LIM, 2013

Two books among the following (three for not attending lessons):
L'altro Novecento di Nino Rota, a cura di Daniela Tortora, Edizioni del Conservatorio di Musica San Pietro a Majella, Napoli 2014
Nino Rota: un timido protagonista del Novecento musicale, a cura di Francesco Lombardi, EDT, Torino 2012

Musica che affronta il silenzio: scritti su Tōru Takemitsu, a cura di Gianmario Borio e Luciana Galliano, Pavia University Press, Pavia 2010

Morte a Venezia. Thomas Mann-Luchino Visconti: un confronto, a cura di Francesco Bono, Luigi Cimmino, Giorgio Pangaro, Rubbettino, Soveria Mannelli 2014
ZURLETTI, Sara, Amore luminoso, ridente morte. Il mito di Tristano nella morte a Venezia di Thomas Mann, Castelvecchi, Roma 2016

KUBRICK, Stanley, Non ho risposte semplici: il genio del cinema si racconta, a cura di Gene D. Phillips, Minimum fax, Roma 2015
EUGENI, Ruggero, Invito al cinema di Stanley Kubrick, Mursia, Milano 2014

TITLE: RUSSIA / AMERICA The art of dance as a political tool (L-ART / 05) - Professor: Concetta Lo Iacono - credits 6

- Dance Theatre at the time of the Tsars. In particular Italian artists, Maria Taglioni's and Virginia Zucchi’s tournées

- The artistic and choreographic avant-garde in the years of the Russian Revolution

- The Russian born Balanchine in the States: his Apollon Musagète.

- Apollo’s Angels in USA.

- Cold war and nowadays Cold war 2.0



VIDEOGRAPHY AND THREE MANDATORY TEXTS

VIDEOGRAPHY AND 3 MANDATORY TEXTS:

1. Concetta Lo Iacono, Il volo di Tersicore. Una storia per immagini del balletto russo (1636 - 2009), Massimiliano Piretti Editore, Bologna (in corso di pubblicazione)
2. Christina Ezrahi, I Cigni del Cremlino. Balletto e potere nella Russia sovietica, Gremese, Roma 2017
3. Donatella Gavrilovich, Le arti e la danza. I coreografi russi e sovietici tra riforma e rivoluzione, Universitalia, Roma 2012

For non attending students: all texts and videos in bibliography and 1 book more choosen from the list below

1. Jennifer Homans, Apollo’s Angels: a History of Ballet, Random House, New York, 2010
2. Elena Cervellati, Théophile Gautier e la danza. La rivelazione del corpo nel balletto del XIX secolo, Clueb, Bologna 2007
3. Vito Di Bernardi, Cosa può la danza. Saggio sul corpo, Bulzoni editore, Roma 2012
4. Madison U. Sowell, Debra H. Sowell, Francesca Falcone, Patrizia Veroli, Icônes du Ballet Romantique. Marie Taglioni et sa famille, Gremese, Roma 2016
5. Marie Taglioni, Souvenirs, a cura di Bruno Ligore, Gremese, Roma 2017
6. Orlando Figes, La danza di Nataša. Storia della cultura russa (XVIII-XX secolo), Giulio Einaudi editore, Torino 2004

5 videos choosen from the list below:

1. Schiaccianoci, coreografia Ivanov e Petipa (oppure di Balanchine: Jewels , Tarantella e Tchajkovskij Pas de Deux). Oppure una versione del Il Lago dei Cigni
2. Giselle, interprete Galina Ulanova (oppure di Balanchine: Sinfonia in do, Apollon)
3. Le Fiamme di Parigi, ricostruzione di Alexei Ratmansky da Vasilij Vainonen (oppure Spartacus, cor. Grigorovich, interprete Vassilev, oppure La Muette de Portici, musica Auber, regia di Emma Dante)
4. Pétrouchka, cor. Fokin, int. Nureijev (oppure Les Noces, cor. B. Nijinska);
5. Romeo and Juliet, cor. Lavrovskij, int. Galina Ulanova (oppure cor. MacMillan, int. Alessandra Ferri)
Facoltativo, a proposito delle ricostruzioni filologiche del repertorio, il confronto di due versioni di Raymonda, mus. Glazunov: Teatro Bolshoi (int. N. Bessmertnova) e Teatro alla Scala (int. A. Novikova). Cfr. anche Sylvie Guillem au travail (Raymonda, cor. Noureev) nella raccolta di film di A. Labarthe, La danse au travail (2012).

The course will address:
- first of all, how to build a format in contemporary television, considering the idea of format and its differences from other theoretical perspectives, such as the narrative genre and genres of production; the course will then address a few case studies, as presented in the textbook, considering examples of great interest or success in a national and international perspective.
- The course will hence focus on vast narratives in television series; it will address a few main theories about contemporary narratives, but it will also consider the industrial context of production in relation with global economies. The course will focus on a few examples, significant for the radical changes of the last 30 years.

Veronica Innocenti e Marta Perrotta (eds.), Factual, Reality, Makeover. Lo spettacolo della trasformazione nella televisione contemporanea, Bulzoni, Rome 2013

Guglielmo Pescatore (ed.), Ecosistemi narrativi: dal fumetto alla serie TV, Carocci, Rome, 2018

The course investigates the film analysis through the “beginnings” and the “endings” of some movies: on one side, a few Spanish language films analyzed in English by an American scholar; on the other side, the “un-happy endings” of di Hollywood director Frank Capra, who isn’t well known among the younger generations. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

Richard K. Curry, The First Few Minutes of Spanish Language Films. Early Cues Reveal the Essence, Jefferson, MacFarland, 2017.

Vito Zagarrio The Un-Happy Ending. Re-viewing the cinema of Frank Capra, New York: Bordighera Press, 2011

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical Works

Course content (36 hours)
The course focuses on the renewal in the field of sculpture in the second half of the 1960s. This crucial moment for the progress of contemporary art witnessed the passage from the object, as a self-contained, immutable form, to the environment and the action, taken as a new relationship established between the sculptural project and the body, nature and public space.

Content of the seminar (36 hours)
Coverage in greater depth of several themes discussed in the course. The specific focus is on certain paradigmatic exhibition events through which to outline the renewal of sculpture in the contemporary era and to analyze the critical debate that accompanied this renewal. The seminar includes visits to museums and temporary exhibitions.

Program:
R. Krauss, Passages in Modern Sculpture, MIT Press, Cambridge, 1981.

Selected essays for which the list will be provided during the course (materials supplied in PDF format).

Non-attending students:
R. Krauss, Passages in Modern Sculpture, MIT Press, Cambridge, 1981.

C. Baldacci, C. Ricci, Quando è scultura, et. al / Edizioni, Milano 2010.

Course content: The course aims to provide students with the knowledge and tools critical to understanding the changes taking place in models and forms of participation in the modern public arena, generated by the ever closer interaction between political system and its actors, on the one hand, and media and communication system, on the other.
The first part of the course is devoted to the changes taking place within the public and political scene and the most important theoretical contributions. In the second part will be considered the main areas of transformation of political communication in relation to the recent history of Italy, and to the developement of the mass media. In the third part will analyze the role played by television and social media in the popularization of politics.
The course includes the viewing and analysis of audiovisual materials propaganda such television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Programma d'esame
- E. Novelli, La turbopolitica, Bur Rizzoli, Milano 2005 (sostituibile con altro concordato con il docente se già studiato per altri esami)
- C. Chepernich, Le campagne elettorali al tempo della networked politics, Roma-Bari, Laterza 2017.
- E.Novelli, Le campagne elettorali in italia, Roma-Bari, Laterza 2018 (in corso di pubblicazione).

In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of very controversial events, arena where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the author's death, theories of reception, art as social practice, the institutional definition of artistic value, cases of " non-recognition " and plagiarism politics, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of the social media in the production of artistic reputations and more in general in relation to the "arts worlds".
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia art.
The third part will address the relationship between theatre and civil society, with a special focus on the case of theatre in prisons.

1) A. L. Tota, Sociologie dell’arte. Dal museo tradizionale all’arte multimediale, Carocci, Roma, 2001.

2) Additional articles and essays available on the professor’s personal web page hosted on the website www.filcospe.it

The course addresses the contemporary theoretical debate on film and media, with a special focus on issues regarding the viewer's experience, especially for what concerns the topics of embodiment and emotion.
The first part of the course will take into account main trends in contemporary film and media theory. In the second part of the class it will be addressed the issue of cinematic emotion following a cognitive perspective.

1) Adriano D'Aloia, Ruggero Eugeni (eds.), Teorie del cinema. Il dibattito contemporaneo, Raffaello Cortina, Milano 2017.

2) Enrico Carocci, Il sistema schermo-mente. Cinema narrativo e coinvolgimento emozionale, Bulzoni, Roma 2018.

Reading Shakespeare. Questioning the materiality of texts and their dramatic composition, the course aims to analyze shakespearean plays as documents of the modern european theatre culture.

R. Guarino, Shakespeare: la scrittura nel teatro, Carocci.
W. Shakespeare, Amleto, a c. di A. Serpieri, Marsilio.
W. Shakespeare, Riccardo III, a c. di V. Gabrieli, Garzanti.
W. Shakespeare, Sogno di una notte di mezza estate, a c. di A. Lombardo e N. Fusini.
S. Greenblatt, Amleto in Purgatorio, Carocci.
L. Maguire e E. Smith, 30 grandi miti su Shakespeare, 0 barra 0.
Eventuali programmi o testi alternativi individuali vanno concordati con il docente.

PROBLEMS OF HISTORIOGRAPHY OF THE PLAY
a.a. 2017-2018
Dialettali d’eccezione – Exception Dialects. Viviani between Naples and Europe
(L-ART/05) 6 credits; master’s degree
Professor: Valentina Venturini

OBJECTIVES: To provide tools to face the study of the main problems posed by theatrical historiography, by tackling the theatrical cultures from time to time examined in relation to their historical context, to the operating modes that they have produced and the traditions that they have created.
PROGRAM: Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the analysis of films made out of the plays of Viviani (La tavola dei poveri, directed by A. Blasetti, 1932, and I dieci comandamenti, directed by M. Martone, 2000) and of unpublished documentary clips.

ATTENDING STUDENTS:
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Materials by the teacher (available at the Copy Center of v. Giulio Rocco n. 11)
4) FILM: "La tavola dei poveri" di A. Blasetti
5) FILM: "I dieci comandamenti" di M. Martone
[Warnings: the film is available to students at the Dams library, via Ostiense 139, floor -1]


NON ATTENDING STUDENTS:
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Franca Angelini, "Teatro e spettacolo nel primo Novecento", Bari-Roma, Laterza, 2009
4) Materiali a cura del docente (available at the Copy Center of v. Giulio Rocco n. 11)
5) FILM: "La tavola dei poveri" di A. Blasetti
6) FILM: "I dieci comandamenti" di M. Martone.
[Warnings: the film is available to students at the Dams library, via Ostiense 139, floor -1]

'Embodying the Mind': feeling and emotions as preliminary conditions of our thinking an knowing.
Through the analysis of Santayana, Whitehead, Dewey and Husserl remarkable writings, the course means to illustrate the outlines of an Aesthetics conceived as a theory of primary, sensitive and not-intellectual conditions of our experience and knowledge.

-Edmund Husserl, La crisi delle scienze europee e la fenomenologia trascendentale, Milano, Il Saggiatore, 2008, pp. 55-208
-Paolo Marolda, Filosofia del sentire nel naturalismo americano, Roma, Bulzoni 2003.

Reading Shakespeare. Questioning the materiality of texts and their dramatic composition, the course aims to analyze shakespearean plays as documents of the modern european theatre culture.

R. Guarino, Shakespeare: la scrittura nel teatro, Carocci.
W. Shakespeare, Amleto, a c. di A. Serpieri, Marsilio.
W. Shakespeare, Riccardo III, a c. di V. Gabrieli, Garzanti.
W. Shakespeare, Sogno di una notte di mezza estate, a c. di A. Lombardo e N. Fusini.
S. Greenblatt, Amleto in Purgatorio, Carocci.
L. Maguire e E. Smith, 30 grandi miti su Shakespeare, 0 barra 0.
Eventuali programmi o testi alternativi individuali vanno concordati con il docente.

PROBLEMS OF HISTORIOGRAPHY OF THE PLAY
a.a. 2017-2018
Dialettali d’eccezione – Exception Dialects. Viviani between Naples and Europe
(L-ART/05) 6 credits; master’s degree
Professor: Valentina Venturini

OBJECTIVES: To provide tools to face the study of the main problems posed by theatrical historiography, by tackling the theatrical cultures from time to time examined in relation to their historical context, to the operating modes that they have produced and the traditions that they have created.
PROGRAM: Specific object of investigation will be the dialect theatre “of exception” (especially the one of Raffaele Viviani), essential piece to look in a new way at that moment of the Italian theatre history identifies with the “years of the delay” with regard to the phenomenon of the emerging theatrical direction. It is foreseen the analysis of films made out of the plays of Viviani (La tavola dei poveri, directed by A. Blasetti, 1932, and I dieci comandamenti, directed by M. Martone, 2000) and of unpublished documentary clips.

ATTENDING STUDENTS:
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Materials by the teacher (available at the Copy Center of v. Giulio Rocco n. 11)
4) FILM: "La tavola dei poveri" di A. Blasetti
5) FILM: "I dieci comandamenti" di M. Martone
[Warnings: the film is available to students at the Dams library, via Ostiense 139, floor -1]


NON ATTENDING STUDENTS:
1) Valentina Venturini, "Raffaele Viviani. La compagnia, Napoli e l’Europa", Roma, Bulzoni, 2008 (escluso il cap. IV)
2) Raffaele Viviani, "Dalla vita alle scene. L’altra biografia (1888-1947)", a c. di Maria Emilia Nardo, Napoli, Rogiosi editore, 2012 (http://www.rogiosi.it/)
3) Franca Angelini, "Teatro e spettacolo nel primo Novecento", Bari-Roma, Laterza, 2009
4) Materiali a cura del docente (available at the Copy Center of v. Giulio Rocco n. 11)
5) FILM: "La tavola dei poveri" di A. Blasetti
6) FILM: "I dieci comandamenti" di M. Martone.
[Warnings: the film is available to students at the Dams library, via Ostiense 139, floor -1]

Course content: The course aims to provide students with the knowledge and tools critical to understanding the changes taking place in models and forms of participation in the modern public arena, generated by the ever closer interaction between political system and its actors, on the one hand, and media and communication system, on the other.
The first part of the course is devoted to the changes taking place within the public and political scene and the most important theoretical contributions. In the second part will be considered the main areas of transformation of political communication in relation to the recent history of Italy, and to the developement of the mass media. In the third part will analyze the role played by television and social media in the popularization of politics.
The course includes the viewing and analysis of audiovisual materials propaganda such television programs, documentaries, commercials, posters. A good knowledge of the Italian contemporary history is preparatory to the course content.

Programma d'esame
- E. Novelli, La turbopolitica, Bur Rizzoli, Milano 2005 (sostituibile con altro concordato con il docente se già studiato per altri esami)
- C. Chepernich, Le campagne elettorali al tempo della networked politics, Roma-Bari, Laterza 2017.
- E.Novelli, Le campagne elettorali in italia, Roma-Bari, Laterza 2018 (in corso di pubblicazione).

In contemporary societies the arts affect the public discourse, becoming agency of meanings, laboratory for the civil society, space and place for shaping the public memory of very controversial events, arena where gender identities, ethnicity and social classes are socially constructed.
The first part of the course will aim at studying artistic production and politics of cultural consumption. It will focus on the following topics: theories of the author's death, theories of reception, art as social practice, the institutional definition of artistic value, cases of " non-recognition " and plagiarism politics, politics of genius, canonization and practices of social exclusion, theories of cultural capital, relationship between art and advertising, the role of the social media in the production of artistic reputations and more in general in relation to the "arts worlds".
The second part will concern art institutions. It will address the following topics: art and the public sphere, monuments in the urban space, art as memory technology, cultural consumption of the past and the role of the cinema in shaping the public memory of very contested pasts, sociology of museums and politics of museum exhibition, representation of ethnic identities in museums, museums as technology of gender, multimedia art.
The third part will address the relationship between theatre and civil society, with a special focus on the case of theatre in prisons.

1) A. L. Tota, Sociologie dell’arte. Dal museo tradizionale all’arte multimediale, Carocci, Roma, 2001.

2) Additional articles and essays available on the professor’s personal web page hosted on the website www.filcospe.it

'Embodying the Mind': feeling and emotions as preliminary conditions of our thinking an knowing.
Through the analysis of Santayana, Whitehead, Dewey and Husserl remarkable writings, the course means to illustrate the outlines of an Aesthetics conceived as a theory of primary, sensitive and not-intellectual conditions of our experience and knowledge.

-Edmund Husserl, La crisi delle scienze europee e la fenomenologia trascendentale, Milano, Il Saggiatore, 2008, pp. 55-208
-Paolo Marolda, Filosofia del sentire nel naturalismo americano, Roma, Bulzoni 2003.

a) Michael Jakob, «Il paesaggio», il Mulino 2009

b) Matteo Giancotti, «Paesaggi del trauma», Bompiani 2017

c) Andrea Zanzotto, «Luoghi e paesaggi», a cura di Matteo Giancotti, Bompiani 2013

d) plus one author, by choice, among:

Beppe Fenoglio, «Il libro di Johnny», edited by Gabriele Pedullà, Einaudi 2015

Guido Piovene, «Viaggio in Italia», Bompiani 2017

Andrea Zanzotto, «Tutte le poesie», edited by Stefano Dal Bianco, Mondadori 2011

Gianni Celati, «Verso la foce», Feltrinelli 2002 + Id., «Narratori delle pianure», Feltrinelli 2008 + Id., «Cinema all’aperto», Fandango 2011

e) to give a context in the 20th and 21st century italian literary history:
Giulio Ferroni, «Storia della letteratura italiana», vol. IV: «Il Novecento e il nuovo millennio», Milano, Mondadori Università, 2012

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical Works

Content of the Course Unit

Media shape culture; the digital media are reshaping culture today. This module introduces a combination of perspectives on media objects and practices of use: historical, cognitive, sociological, ethnographic, esthetical, and curatorial. Media technologies are studied as tools for research (digital humanities), for education, and as curatorial tools used for presentation and mediation. The course is divided into three parts: 1) Media as systems of representation; 2) Media as cultural industry, 3) Media as technology. Each part is addressed first in theoretical terms and subsequently explored through selected cases studies and, occasionally, through the contribution of media practitioners.

Learning Outcomes
Upon successful completion of the course unit, students are able to:
- Use the main theoretical and methodological approaches in analyzing the relationship between media and culture, with particular reference to Sociology and Cultural Studies
- Understand the key role of media in “shaping culture” and in the process through which culture and its (both symbolic and material, tangible and non tangible) expressions are assigned meaning and (aesthetic, social, economic, etc.) value
- Understand how the role of media in “shaping culture” has changed with the diffusion of digital technologies/environments, user-generated contents, the shift from “broadcast cultures” to “participative cultures”
- Deconstruct media representations of culture and its expressions, and uncover the functioning of discourses on culture that are reproduced by the media
- Understand the role and functioning of media as a cultural/creative industry, whose products are forms of culture in their own right (notion of “cultural reflexivity”)
- Develop their own analysis of media texts
- Effectively use media technologies and languages in cultural sector-related professions: as tools for research (digital humanities), for education, and as curatorial tools

Calculation of student workload
The seminar comprises 6 EC = 125 hrs. Breakdown in different tasks for the course:

Attendance meetings: 30 hrs
Studying compulsory readings in preparation of meetings: 30 hrs
Group assignment: 10
Individual assignment 1: 20
Individual assignment 2: 35
Total: 125

Assessment

Final evaluation ranges between the score of 18 out of 30 points and 30 out of 30 points. Students will be graded based upon three assignments:

1. Group assignment (score ranges between 0 and 4 points
2. Individual assignment n. 1 (score ranges between 0 and 14 points)
3. Individual assignment n. 2 (score ranges between 0 and 12 points)

Group assignement
In every meeting, a small group (2-3 persons, depending on the total number of students) presents one of the compulsory readings attributed for that meeting. Students are expected to effectively expose the content of the readings and to give their personal contribution. This can consists of an analysis of one of the aspects/topics/analytical categories addressed by the reading(s) and/or of a set of research questions, solicited by the readings, that students formulate on their own. At the beginnin of the course, students wil be asked to express their preferences for the date and content of their presentation.

Individual assignment n. 1
The first individual assignment consists of a written exam on the contents of compulsory readings, that students are expect to study throughout the entire Course, in preparation of each meeting (30 hrs of esitmated workload), and to review in preparation of the exam (20 hrs of estimated workload). This exam will take place within the second half of june.

Individual assignment n. 2
The second individual assignment consists of a short research paper (4-5 pages) on the topic of landscape and/in media representation. Deadline for paper sumbitting is the end of June. Further details (methodology, overall organisation, etc.) will be provided as the course begins.

* Students interested in taking this course are kindly requested to contact Dr. Giomi in order to access the folder containing teaching materials and readings (elisa.giomi@uniroma3.it). Lessons will take place in Aula 13A, at Dipartimento di Studi Aziendali, V. Silvio D'Amico 77

Day to Day program and Readings

FIRST WEEK
Lesson 1 – Dr Giomi
27.4.2018
The first lesson aims to answer the following questions: 1) why study the Media in a Cultural Leadership Course?, and 2) how to study the Media in a Cultural Leadership Perspective? We will be exploring the role of media in society, their shaping and reshaping culture, and their being deeply embedded in the “texture” of our everyday life experience. Secondly, we will be describing the course approach, that consider the media as cultural industries, systems of representation and technologies. We will subsequently start to illustrate preliminary and basic notions about the Media, starting from their evolution from the early days of printing in the late Middle Ages to the present age of information communication technology and the information society.

Readings
• “The texture of experience”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 1-12.
• On the MAG episode, that will be discussed in class: https://www.newcriterion.com/blogs/dispatch/make-art-history-great-again
• “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 35-59. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)

SECOND WEEK
Lesson 2 – Dr Giomi
2.05.2018 - What are the media?
In this lesson, some of the main concepts and models involved in the study of the media will be addressed. Topic include; the “mass” concept, the “mass audience”; “mass” and “popular culture”; the shift from broadcasting and mass audience to new media and participatory culture.

Readings
• “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 61-89. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)
• “What is new about new media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 145-173 (compulsory for everyone and individual assignment n. 1: to be presented by one or two students; provided by Dr. Giomi)

Lesson 3 – Dr Giomi
4.05.2017 - Media and Culture
In this lesson, the relationship between media and culture is approached, grounding on the assumption that it is impossible now to distinguish between a sphere of culture and that of media. An overview is provided of the Culturalist perspective on mass media, that considers all the different aspects of media at once: their content (that is, media representations), the context of media production and reception, and all the surrounding practices (media as cultural industry and technologies). In order to highlight the contribution of the Culturalist perspective, we will start by comparing common sense definitions of “culture” - provided by contemporary popular media texts, such as TV talk shows and magazine articles – to the definitions elaborated by the main Culturalist theories: the Frankfurt School and critical cultural theory, British Cultural Studies and their redemption of the popular. Other topics include: commercialization of culture; communication technology and culture.

Readings
• Voices “Culture” and “Cultural Theory” in The Sage Dictionary in Cultural Studies, Sage, London (4 pages in total). (compulsory: to be read before lesson; provided by Dr. Giomi)
• “Mass Communication and culture” di McQuail, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 121-144. (compulsory for everyone and to be presented by one or two students; provided by Dr. Giomi)
• Stuart Hall, “Cultural Studies and the Center: some problematics and problems”, in Culture, Media, Language. Working Papers in Cultural Studies 1972-1979, Hutchinson, London, pp.15-47 (non compulsory, provided by Dr. Giomi)

THIRD WEEK
Lesson 4 and Lesson 5
9.05.2018 and 11.05.2018 - Media as systems of representation: power, ideology, meaning
The first dimension of analysis of the media is addressed starting from the description of the mediation process, with specific focus on what is mediated (the meaning) and to the process by which meaning is given and taken (signification). The processes of meaning production are signifying practices and to understand culture is to explore how meaning is produced symbolically as forms of representation. This issue is approached through the theoretical tools elaborated by those Cultural Studies scholars who have focused on the questions of representation with an especial emphasis on the ways by which the world is socially constructed and represented to and by us. Issues that will be explored include: how representation is bound up with questions of power; the “politics of representation”; meaning and ideology: These issues and analytical categories will be applied to the analysis of a media product that had built up a cult following; the Twilight saga. Different and “competing” readings of this product and of its ideology will be compared in order to underline the “politics of representation” that is at work here.

Readings

• “Mediation”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 13-18. (non compulsory)
• Voice “Representation” in The Sage Dictionary in Cultural Studies, Sage, London (2 pages). (compulsory, provided by Dr. Giomi)
• “Introduction”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 1-8. (compulsory, provided by Dr. Giomi)
• “Meaning, representation and power”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 13-38. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Durham, M.G. [2012], Blood, lust and love, in «Journal of Children and Media», 6, 3, pp. 281-299. (compulsory and to be presented by one or two students, provided by Dr. Giomi)
• Franiuk, R., Scherr, S. [2013], The lion fell in love with the lamb, in «Feminist Media Studies», 13,1, pp. 14-28. (non compulsory)
To be watched before lesson n. 5: Twilight (film n. 1 of the saga)


FOURTH WEEK
Lesson 6 – Dr Giomi
18.05.2018 - Media as Cultural industry: the process of value production
In these lessons the processes of mediation and of meaning production will explored in relation to the economic, institutional and political forms of its organization. We will address how these forms have changed during the twentieth century, as well as issue of ownership and control of the cultural industries, and how these impact on meaning production. We will ground on the assumption that industry is central to controlling the circulation of meaning in society. Different types of cultural industry will therefore be explored, as well as how interactive technologies have changed the production of culture. The discourse then moves on to analyzing the relations between media (considered as both representations and as cultural industries) and “value”: media as actors contributing to the negotiation process through which culture and its (both symbolic and material) expressions are assigned meaning and (aesthetic, social, economic, etc.) values. The focal point is that there are principles of production of value laid out within the old media technologies that are still active and valid for the new media. The conceptualization of value in media (and other) production in terms of political economy (value in use or exchange) vs. other ways of understanding value, such as value as symbolic exchange; the relation of these two principles of value generation to each other as the key factor in understanding how value is created in both production and consumption. Issues that are explored include how value changes in changing media

Readings

• “The industrial production of meaning”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57. (compulsory, provided by Dr. Giomi)
• “Introduction”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory, provided by Dr. Giomi)
• “Media production and cultural industries”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016 (non compulsory)

FIFTH WEEK
Lesson 7 – Dr Giomi
25.5.2018 - Media production, value production: the case of “Nordic noir” and of European TV crime series
In this lesson, the dynamic and process of value production will be explored taking as a case study that of “Nordic Noir” and of European TV crime series. Nordic Noir, or Scandinoir, defines a form of Scandinavian crime fiction whose most popular TV expressions come from Sweden and Denmark (the TV series Wallander, 2005–2014; Forbrydelsen/The Killing, 2007–2012, and Broen/The Bridge, 2011–present). Nordic Noir has had a global influence in Europe (to the point that Netflix has created a specific category, “European Crime Drama”) as well as outside Europe, and has helped in reinventing a new breed of miniseries, one that is uniquely suited to the requirements of the new broadcasting age. Such influence can be felt at many levels (aesthetic, narrative, ideological, moral, etc.). We will take into exam the visual one, focusing on the role of landscape. Landscape has become a distinctive feature of Nordic Noir, part of its appeal, an “entertainment value” in its own, and a “trade-mark” of quality (a presence, that is, indicating high aesthetic and production standards). At the same time, Nordic Noir has played a key role in producing the (aesthetic and economic) value of Scandinavian countries (the “Sweden trade-mark”): the portrayal of their landscapes offered by TV representations and their peculiar atmosphere have contributed to the “typification” of Scandinavian countries in collective cultural imagery, making these countries popular over the world and boosting their tourism. The same has happened with the so-called “Celtic Noir” such as Broadchurch, 2013–present; Southcliffe, 2013, Gwyll/Hinterland, 2013, Shetland 2013-present (all shot in the UK), and, more in general, with procedural recently produced in other European countries, ranging from Iceland to Finland, Norway, Belgium, France, Italy, Germany, and the Netherlands. Examining the “landscape in Nordic Noir” case will serve the goal of laying down the theoretical and methodological background that will be used in the study of the Roman Aqueduct System case

Tv series (to be viewed at home)
First episode of Wallander, 2005–2014
or
Forbrydelsen/The Killing, 2007–2012
or
Broen/The Bridge, 2011–present
plus
Broadchurch, 2013
or
Gwyll/Hinterland, 2013
or
Shetland 2013-present
plus
Glacé /The Froezen Dead (2017)
(others will be indicated later)

Readings

• Creeber, G. [2015], Killing us softly: Investigating the aesthetics,philosophy and influence of Nordic Noir Television, in «Journal of Popular Television», 3, 1, pp. 21-35. (non compulsory, provided by Dr Giomi)
• Marit Waade, A., Melancholy in Nordic noir: Characters, landscapes, light and music, «Critical Studies in Television», First Published December 19, 2017 (compulsory; provided by Dr. Giomi )
• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, «New Review of Film and Television Studies», 2016, VOL . 14, NO. 3, 364–385 (compulsory and to be presented by one or two students; provided by Dr. Giomi)


SIXTH WEEK
Lesson 8 – Dr Giomi and Dr Addamiano
25.05.2018 Inter-modules case study: the Roman Aqueduct System
In this lesson, that is common to the Media Module and to the Sustainability and Cultural Awareness Module, the Roman Aqueduct System case study is addressed by means of a multidisciplinary perspective. We will analyze the ‘narrative stratification’ the Aqueduct has undergone in and through its numerous representations diffused by diverse media over the last 50 years. The goal is to deconstruct the overlapping “layers of meaning” that media storytelling has been accumulating so far. Drawing on the theoretical and methodological base provided in the previous lesson (especially in the one about Noridc Noir), we will focus on the role of landscape in media representations and value production. Research questions are: 1) how have the Aqueduct, its relation to the territory and its inhabitants, and to Italian society at large, been framed and represented by movies, documentaries, TV series, digital narratives produced in different historical moments? 2) How have these narratives/discursive constructions contributed to produce the (varying) value(s) of the Aqueduct and of its territory and landscape in different historical moments?
Films that will be screened and analysed during the lesson are:
- Mamma Roma (P. Pasolini, 1962 - English version available)
- The Great Beauty (P. Sorrentino, 2013 - English version available)
- Fortunata (S. Castellito, 2017 - English version not available: a montage will be shown and illustrated)
In each of them, the Aqueduct is a heritage element that connotes the territory, the environment, its social tissue in completely different ways.


SEVENTH WEEK
Lesson 9 and Lesson 10 – Prof Dr Van den Oever, University of Groningen
30.05.2018 and 31.05.2018 - (New) Media Technologies and Value Creation: Museums & Media Curating
Central to this last part of the course is the question of (new) media technologies and value creation. All the processes associated with the double role of media as systems of representation and media as a cultural industry in its own right, have become increasingly intense and have been reconfigured by the diffusion of digital technologies/environments, user-generated contents, and the shift from “broadcast cultures” to “participative cultures”.
This last week, we will explore the question of media from the perspective of a study of media as technologies which tend to have a specific material and sensorial makeup, and a specific impact on representation, audience experience, and practices of use. Media will be considered in their role as new media technologies which first have an impact (individually, culturally) and create novelty experiences; and next become part of a practice of media use in which they eventually may become old and obsolete (e.g., the typewrite) and are to be replaced by new devices (e.g., the pc, the tablet, the smartphone).
In order to highlight how media as specific information, communication, and visualization technologies impact on production and consumption processes, and on the entire “value production chain”, we will address the question: which specific role do media technologies play in the production of aesthetic, political, economic, and cultural value?
The examples to focus on will be related to media use in museums and big heritage institutions.

Readings

o Silverstone, R. [1988] “Museums and the media: A theoretical and methodological exploration.” In: The International Journal of Museum Management and Curatorship. pp. 231-241. Available online.
o Peters, Benjamin. [2009] “And lead us not into thinking the new is new: a bibliographic case for new media history.” Available online.
o Fossati, Giovanna. [2009] “Framing Film (in Transition): an Introduction.” In From Grain to Pixel. The Archival Life of Film in Transition. pp. 13-32. Digital file attached.
o Odin, Roger. [2016] “Cinema in My Pocket.” In: Exposing the Film Apparatus. The Film Archive as a Research Lab. Giovanna Fossati and Annie van den Oever, eds., pp. 45-53. Digital file attached.
o Kittler, Friedrich. [1996] “The History of Communication Media.” Published online in ctheory http://www.ctheory.net/articles.aspx?id=45 Available online.
o (For optional reading) Fossati, Giovanna, and Annie van den Oever. [2016] “Introduction”. In Exposing the Film Apparatus. The Film Archive as a Research Lab. pp. 13-37. Digital file attached.































Day to Day program and Readings


FIRST WEEK

Lesson 1 – Dr Giomi
27. 4.2018


The first lesson aims to answer the following questions: 1) why study the Media in a Cultural Leadership Course?, and 2) how to study the Media in a Cultural Leadership Perspective?
We will be exploring the role of media in society, their shaping and reshaping culture, and their being deeply embedded in the “texture” of our everyday life experience. Secondly, we will be describing the course approach, that consider the media as cultural industries, systems of representation and technologies. We will subsequently start to illustrate preliminary and basic notions about the Media, starting from their evolution from the early days of printing in the late Middle Ages to the present age of information communication technology and the information society.

Readings
• “The texture of experience”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 1-12.
• On the MAG episode, that will be discussed in class: https://www.newcriterion.com/blogs/dispatch/make-art-history-great-again
• “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 35-59.


SECOND WEEK


Lesson 2 – Dr Giomi
2.05.2018
What are the media?

In this lesson, some of the main concepts and models involved in the study of the media will be addressed. Topic include; the “mass” concept, the “mass audience”; “mass” and “popular culture”; the shift from broadcasting and mass audience to new media and participatory culture.

Readings
• “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 61-89. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)
• “What is new about new media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 145-173 (individual assignment n. 1: to be presented by one or two students; provided by Dr. Giomi)

Lesson 3 – Dr Giomi
4.05.2017
Media and Culture

In this lesson, the relationship between media and culture is approached, grounding on the assumption that it is impossible now to distinguish between a sphere of culture and that of media. An overview is provided of the Culturalist perspective on mass media, that considers all the different aspects of media at once: their content (that is, media representations), the context of media production and reception, and all the surrounding practices (media as cultural industry and technologies). In order to highlight the contribution of the Culturalist perspective, we will start by comparing common sense definitions of “culture” - provided by contemporary popular media texts, such as TV talk shows and magazine articles – to the definitions elaborated by the main Culturalist theories: the Frankfurt School and critical cultural theory, British Cultural Studies and their redemption of the popular. Other topics include: commercialization of culture; communication technology and culture.

Readings
• Voices “Culture” and “Cultural Theory” in The Sage Dictionary in Cultural Studies, Sage, London (4 pages in total). (compulsory: to be read before lesson; provided by Dr. Giomi)
• “Mass Communication and culture” di McQuail, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 121-144. (compulsory for everyone and to be presented by one or two students; provided by Dr. Giomi)
• Stuart Hall, “Cultural Studies and the Center: some problematics and problems”, in Culture, Media, Language. Working Papers in Cultural Studies 1972-1979, Hutchinson, London, pp.15-47 (non compulsory, provided by Dr. Giomi)


THIRD WEEK

Lesson 4 and Lesson 5
9.05.2018 and 11.05.2018
Media as systems of representation: power, ideology, meaning

The first dimension of analysis of the media is addressed starting from the description of the mediation process, with specific focus on what is mediated (the meaning) and to the process by which meaning is given and taken (signification). The processes of meaning production are signifying practices and to understand culture is to explore how meaning is produced symbolically as forms of representation. This issue is approached through the theoretical tools elaborated by those Cultural Studies scholars who have focused on the questions of representation with an especial emphasis on the ways by which the world is socially constructed and represented to and by us. Issues that will be explored include: how representation is bound up with questions of power; the “politics of representation”; meaning and ideology: These issues and analytical categories will be applied to the analysis of a media product that had built up a cult following; the Twilight saga. Different and “competing” readings of this product and of its ideology will be compared in order to underline the “politics of representation” that is at work here.

Readings:

• “Mediation”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 13-18. (non compulsory)
• Voice “Representation” in The Sage Dictionary in Cultural Studies, Sage, London (2 pages). (compulsory, provided by Dr. Giomi)
• “Introduction”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 1-8. (compulsory, provided by Dr. Giomi)
• “Meaning, representation and power”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 13-38. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Durham, M.G. [2012], Blood, lust and love, in «Journal of Children and Media», 6, 3, pp. 281-299. (compulsory and to be presented by one or two students, provided by Dr. Giomi)
• Franiuk, R., Scherr, S. [2013], The lion fell in love with the lamb, in «Feminist Media Studies», 13,1, pp. 14-28. (non compulsory)
To be watched before lesson n. 5: Twilight (film n. 1 of the saga)


FOURTH WEEK

Lesson 6 – Dr Giomi
18.05.2018
Media as Cultural industry: the process of value production

In these lessons the processes of mediation and of meaning production will explored in relation to the economic, institutional and political forms of its organization. We will address how these forms have changed during the twentieth century, as well as issue of ownership and control of the cultural industries, and how these impact on meaning production. We will ground on the assumption that industry is central to controlling the circulation of meaning in society. Different types of cultural industry will therefore be explored, as well as how interactive technologies have changed the production of culture. The discourse then moves on to analyzing the relations between media (considered as both representations and as cultural industries) and “value”: media as actors contributing to the negotiation process through which culture and its (both symbolic and material) expressions are assigned meaning and (aesthetic, social, economic, etc.) values. The focal point is that there are principles of production of value laid out within the old media technologies that are still active and valid for the new media. The conceptualization of value in media (and other) production in terms of political economy (value in use or exchange) vs. other ways of understanding value, such as value as symbolic exchange; the relation of these two principles of value generation to each other as the key factor in understanding how value is created in both production and consumption. Issues that are explored include how value changes in changing media

Readings

• “The industrial production of meaning”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57. (compulsory, provided by Dr. Giomi)
• “Introduction”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory, provided by Dr. Giomi)
• “Media production and cultural industries”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016 (non compulsory)

FIFTH WEEK
Lesson 7 – Dr Giomi
25.5.2018

Media production, value production: the case of “Nordic noir” and of European TV crime series

In this lesson, the dynamic and process of value production will be explored taking as a case study that of “Nordic Noir” and of European TV crime series. Nordic Noir, or Scandinoir, defines a form of Scandinavian crime fiction whose most popular TV expressions come from Sweden and Denmark (the TV series Wallander, 2005–2014; Forbrydelsen/The Killing, 2007–2012, and Broen/The Bridge, 2011–present). Nordic Noir has had a global influence in Europe (to the point that Netflix has created a specific category, “European Crime Drama”) as well as outside Europe, and has helped in reinventing a new breed of miniseries, one that is uniquely suited to the requirements of the new broadcasting age. Such influence can be felt at many levels (aesthetic, narrative, ideological, moral, etc.). We will take into exam the visual one, focusing on the role of landscape. Landscape has become a distinctive feature of Nordic Noir, part of its appeal, an “entertainment value” in its own, and a “trade-mark” of quality (a presence, that is, indicating high aesthetic and production standards). At the same time, Nordic Noir has played a key role in producing the (aesthetic and economic) value of Scandinavian countries (the “Sweden trade-mark”): the portrayal of their landscapes offered by TV representations and their peculiar atmosphere have contributed to the “typification” of Scandinavian countries in collective cultural imagery, making these countries popular over the world and boosting their tourism. The same has happened with the so-called “Celtic Noir” such as Broadchurch, 2013–present; Southcliffe, 2013, Gwyll/Hinterland, 2013, Shetland 2013-present (all shot in the UK), and, more in general, with procedural recently produced in other European countries, ranging from Iceland to Finland, Norway, Belgium, France, Italy, Germany, and the Netherlands. Examining the “landscape in Nordic Noir” case will serve the goal of laying down the theoretical and methodological background that will be used in the study of the Roman Aqueduct System case

Tv series (to be viewed at home)
First episode of Wallander, 2005–2014
or
Forbrydelsen/The Killing, 2007–2012
or
Broen/The Bridge, 2011–present
plus
Broadchurch, 2013
or
Gwyll/Hinterland, 2013
or
Shetland 2013-present
plus
Glacé /The Froezen Dead (2017)
(others will be indicated later)


Readings:
• Creeber, G. [2015], Killing us softly: Investigating the aesthetics,philosophy and influence of Nordic Noir Television, in «Journal of Popular Television», 3, 1, pp. 21-35. (non compulsory, provided by Dr Giomi)
• Marit Waade, A., Melancholy in Nordic noir: Characters, landscapes, light and music, «Critical Studies in Television», First Published December 19, 2017 (compulsory; provided by Dr. Giomi )

• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, «New Review of Film and Television Studies», 2016, VOL . 14, NO. 3, 364–385 (compulsory and to be presented by one or two students; provided by Dr. Giomi)


SIXTH WEEK

Lesson 8 – Dr Giomi and Dr Addamiano
25.05.2018 Inter-modules case study: the Roman Aqueduct System.

In this lesson, that is common to the Media Module and to the Sustainability and Cultural Awareness Module, the Roman Aqueduct System case study is addressed by means of a multidisciplinary perspective. We will analyze the ‘narrative stratification’ the Aqueduct has undergone in and through its numerous representations diffused by diverse media over the last 50 years. The goal is to deconstruct the overlapping “layers of meaning” that media storytelling has been accumulating so far. Drawing on the theoretical and methodological base provided in the previous lesson (especially in the one about Noridc Noir), we will focus on the role of landscape in media representations and value production. Research questions are: 1) how have the Aqueduct, its relation to the territory and its inhabitants, and to Italian society at large, been framed and represented by movies, documentaries, TV series, digital narratives produced in different historical moments? 2) How have these narratives/discursive constructions contributed to produce the (varying) value(s) of the Aqueduct and of its territory and landscape in different historical moments?
Films that will be screened and analysed during the lesson are:
- Mamma Roma (P. Pasolini, 1962 - English version available)
- The Great Beauty (P. Sorrentino, 2013 - English version available)
- Fortunata (S. Castellito, 2017 - English version not available: a montage will be shown and illustrated)
In each of them, the Aqueduct is a heritage element that connotes the territory, the environment, its social tissue in completely different ways.


SEVENTH WEEK

Lesson 9 and Lesson 10 – Prof Dr Van den Oever, University of Groningen
30.05.2018 and 31.05.2018
(New) Media Technologies and Value Creation: Museums & Media Curating

Central to this last part of the course is the question of (new) media technologies and value creation. All the processes associated with the double role of media as systems of representation and media as a cultural industry in its own right, have become increasingly intense and have been reconfigured by the diffusion of digital technologies/environments, user-generated contents, and the shift from “broadcast cultures” to “participative cultures”.
This last week, we will explore the question of media from the perspective of a study of media as technologies which tend to have a specific material and sensorial makeup, and a specific impact on representation, audience experience, and practices of use. Media will be considered in their role as new media technologies which first have an impact (individually, culturally) and create novelty experiences; and next become part of a practice of media use in which they eventually may become old and obsolete (e.g., the typewrite) and are to be replaced by new devices (e.g., the pc, the tablet, the smartphone).
In order to highlight how media as specific information, communication, and visualization technologies impact on production and consumption processes, and on the entire “value production chain”, we will address the question: which specific role do media technologies play in the production of aesthetic, political, economic, and cultural value?
The examples to focus on will be related to media use in museums and big heritage institutions.


Readings:
o Silverstone, R. [1988] “Museums and the media: A theoretical and methodological exploration.” In: The International Journal of Museum Management and Curatorship. pp. 231-241. Available online.
o Peters, Benjamin. [2009] “And lead us not into thinking the new is new: a bibliographic case for new media history.” Available online.
o Fossati, Giovanna. [2009] “Framing Film (in Transition): an Introduction.” In From Grain to Pixel. The Archival Life of Film in Transition. pp. 13-32. Digital file attached.
o Odin, Roger. [2016] “Cinema in My Pocket.” In: Exposing the Film Apparatus. The Film Archive as a Research Lab. Giovanna Fossati and Annie van den Oever, eds., pp. 45-53. Digital file attached.
o Kittler, Friedrich. [1996] “The History of Communication Media.” Published online in ctheory http://www.ctheory.net/articles.aspx?id=45 Available online.
o (For optional reading) Fossati, Giovanna, and Annie van den Oever. [2016] “Introduction”. In Exposing the Film Apparatus. The Film Archive as a Research Lab. pp. 13-37. Digital file attached.

COMPULSORY READINGS
• “The rise of Mass Media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 35-59.
• “Concept and models for Mass Communication”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 61-89. (compulsory: to be read before lesson by everyone; provided by Dr. Giomi)
• “What is new about new media”, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 145-173 (compulsory for everyone and individual assignment n. 1: to be presented by one or two students; provided by Dr. Giomi)
• Voices “Culture” and “Cultural Theory” in The Sage Dictionary in Cultural Studies, Sage, London (4 pages in total). (compulsory: to be read before lesson; provided by Dr. Giomi)
• “Mass Communication and culture” di McQuail, in D. McQuail, Mass Communication Theory, 6th edition, Sage, London, 2010, pp. 121-144. (compulsory for everyone and to be presented by one or two students; provided by Dr. Giomi)
• Voice “Representation” in The Sage Dictionary in Cultural Studies, Sage, London (2 pages). (compulsory, provided by Dr. Giomi)
• “Introduction”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 1-8. (compulsory, provided by Dr. Giomi)
• “Meaning, representation and power”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 13-38. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Durham, M.G. [2012], Blood, lust and love, in «Journal of Children and Media», 6, 3, pp. 281-299. (compulsory and to be presented by one or two students, provided by Dr. Giomi)
• "The industrial production of meaning”, in N. Carah, E. Louw, Media and Society. Production, Content and Participation, Sage, London, pp. 39-57. (compulsory, provided by Dr. Giomi)
• “Introduction”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory, provided by Dr. Giomi)
• “Media production and cultural industries”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016. (compulsory and to be presented by one or two students; provided by Dr. Giomi )
• Marit Waade, A., Melancholy in Nordic noir: Characters, landscapes, light and music, «Critical Studies in Television», First Published December 19, 2017 (compulsory; provided by Dr. Giomi )
• Roberts, L., Landscapes in the frame: exploring the hinterlands of the British procedural drama, «New Review of Film and Television Studies», 2016, VOL . 14, NO. 3, 364–385 (compulsory and to be presented by one or two students; provided by Dr. Giomi)
o Silverstone, R. [1988] “Museums and the media: A theoretical and methodological exploration.” In: The International Journal of Museum Management and Curatorship. pp. 231-241. Available online.
o Peters, Benjamin. [2009] “And lead us not into thinking the new is new: a bibliographic case for new media history.” Available online.
o Fossati, Giovanna. [2009] “Framing Film (in Transition): an Introduction.” In From Grain to Pixel. The Archival Life of Film in Transition. pp. 13-32. Digital file attached.
o Odin, Roger. [2016] “Cinema in My Pocket.” In: Exposing the Film Apparatus. The Film Archive as a Research Lab. Giovanna Fossati and Annie van den Oever, eds., pp. 45-53. Digital file attached.
o Kittler, Friedrich. [1996] “The History of Communication Media.” Published online in ctheory http://www.ctheory.net/articles.aspx?id=45 Available online.


OPTIONAL READINGS
• The texture of experience”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 1-12.
• On the MAG episode, that will be discussed in class: https://www.newcriterion.com/blogs/dispatch/make-art-history-great-again
• Stuart Hall, “Cultural Studies and the Center: some problematics and problems”, in Culture, Media, Language. Working Papers in Cultural Studies 1972-1979, Hutchinson, London, pp.15-47 (non compulsory, provided by Dr. Giomi)
• “Mediation”, in R. Silverstone, Why Study the Media, Sage, London, 1999, pp. 13-18. (non compulsory)
• Franiuk, R., Scherr, S. [2013], The lion fell in love with the lamb, in «Feminist Media Studies», 13,1, pp. 14-28. (non compulsory)
• “New Organisational Forms of Value Production”, in G. Bolin, Value and the Media: Cultural Production and Consumption in Digital Markets, Taylor and Francis, 2016 (non compulsory)
• Creeber, G. [2015], Killing us softly: Investigating the aesthetics,philosophy and influence of Nordic Noir Television, in «Journal of Popular Television», 3, 1, pp. 21-35. (non compulsory, provided by Dr Giomi)
• (For optional reading) Fossati, Giovanna, and Annie van den Oever. [2016] “Introduction”. In Exposing the Film Apparatus. The Film Archive as a Research Lab. pp. 13-37. Digital file attached.

The first part will aim at analysing the forms of public communication and the ways in which different institutions classify, think and speak within the public space, with a special focus on the role played by the media. Topics covered will include: the articulation of public discourse in the different national contexts, the processes of formation of public opinion, the relationship between media and new technologies.
The second part will analyze the public communication of the past, with particular reference to its cultural shapes. To what extent cinema, theatre and museums can contribute to producing the public knowledge of very controversial pasts? To what extent the public knowledge of the Holocaust can be shaped through a movie or a comic (for example, "Maus" by Art Spiegelman)? A song can change the social trajectories of collective and social memories (the case of “Nick and Bart” by Joan Baez on Nicola Sacco and Bartolomeo Vanzetti)? To what extent a theatrical performance on Ustica can contribute to the public knowledge of the event itself? Can we learn something new on September 11th thanks to a series of short films dedicated to it? These are some of the questions, which the course will focus on.

1) Tota, Anna Lisa, Lia Luchetti e Trever Hagen (a cura di), 2018, Sociologie della memoria. Verso un'ecologia del passato, Carocci, Roma.
2) Rampazi, Marita e Anna Lisa Tota (a cura di), 2007, La memoria pubblica. Trauma culturale, nuovi confini e identità nazionali, Novara, Utet (only part I, pages: 5- 86.
3) Moreover, the following article (available for the students on the professor’s personal page hosted on the website www.filcospe.it): Il Vietnam Veterans Memorial: la commemorazione di un passato difficile di Robin Wagner-Pacifici e Barry Schwartz (trad. it.) in Anna Lisa Tota (a cura di), 2001, La memoria contesa. Studi sulla comunicazione sociale del passato, Milano, Franco Angeli pp. 109-148.

A voyage in about three decades of narratives for the big and the small screen, with the second generation immigrants as leads, behind and before the camera. The battle for a new nationality law showed the presence of groups resisting the redefinition of the main narrative on Italianness. The fears raised by the attacks in the heart of the Europe joined the return of some “race figures” linked to the past of Italy, as a country involved in dynamics of power and abuse on subaltern groups, from slavery to colonialism to biopolitical governance of the immigration.

Bibliography:
Leonardo De Franceschi, Cittadinanze visuali. L’italianità negli anni della battaglia per lo ius soli (Roma, Aracne Editrice, in preparation);
plus an online collection of articles, edited by the professor.
Filmography:
currently under discussion.

The course deals with the theory and the analysis of musical performance, both in terms of a specifically musicological approach (vocal and instrumental performance practices from the Baroque to the twentieth century), and on that of cultural history. In particular, it will be examined the figure of Maria Callas, also in the relations with the social context and with other arts (literature, theater, cinema, art, media).

- Selected essays which will be communicated at the beginning of the lessons
- "Mille e una Callas. Voci e studi", a cura di Luca Aversano e Jacopo Pellegrini, II ed., Quodlibet, Macerata 2017.

Additional materials for student non attending the lessons:
Book of free choice among:
Enrico Careri, Studi su esecuzione e interpretazione. Vivaldi, Schubert, E.A. Mario, Lim, Lucca 2014; Arturo Toscanini: il direttore e l'artista mediatico, a cura di Marco Capra e Ivano Cavallini, Lim, Lucca 2011; Davide Bertotti, Il direttore d'orchestra da Wagner a Furtwängler : l'illustre aberrazione, L’epos, Palermo 2005; Hans-Heinrich Unger, Musica e retorica fra XVI e XVIII secolo, a cura di Elisabetta Zoni, Alinea Editrice, Firenze 2003; Ivano Cavallini, Il direttore d’orchestra. Genesi e storia di un’arte, Marsilio, Venezia 1998; Piero Rattalino, Storia del pianoforte, Il Saggiatore, Milano 2008; Bernard Sherman, Interviste sulla musica antica. Dal canto gregoriano a Monteverdi, Edt, Torino 2002.

The course develops aesthetic issues relating to synergies / discrepancies between sounds and movie pictures, starting from poetics of four Masters of the twentieth century.

Testoni, Marco, Musica e visual media, Audino Editore, Roma 2016 (as an alternative, MICELI, Sergio, Film music: history, aesthetic-analysis, typologies,
edited and translated by Marco Alunno, Braunwin Sheldrick, Milano Ricordi - Lucca LIM, 2013

Two books among the following (three for not attending lessons):
L'altro Novecento di Nino Rota, a cura di Daniela Tortora, Edizioni del Conservatorio di Musica San Pietro a Majella, Napoli 2014
Nino Rota: un timido protagonista del Novecento musicale, a cura di Francesco Lombardi, EDT, Torino 2012

Musica che affronta il silenzio: scritti su Tōru Takemitsu, a cura di Gianmario Borio e Luciana Galliano, Pavia University Press, Pavia 2010

Morte a Venezia. Thomas Mann-Luchino Visconti: un confronto, a cura di Francesco Bono, Luigi Cimmino, Giorgio Pangaro, Rubbettino, Soveria Mannelli 2014
ZURLETTI, Sara, Amore luminoso, ridente morte. Il mito di Tristano nella morte a Venezia di Thomas Mann, Castelvecchi, Roma 2016

KUBRICK, Stanley, Non ho risposte semplici: il genio del cinema si racconta, a cura di Gene D. Phillips, Minimum fax, Roma 2015
EUGENI, Ruggero, Invito al cinema di Stanley Kubrick, Mursia, Milano 2014

TITLE: RUSSIA / AMERICA The art of dance as a political tool (L-ART / 05) - Professor: Concetta Lo Iacono - credits 6

- Dance Theatre at the time of the Tsars. In particular Italian artists, Maria Taglioni's and Virginia Zucchi’s tournées

- The artistic and choreographic avant-garde in the years of the Russian Revolution

- The Russian born Balanchine in the States: his Apollon Musagète.

- Apollo’s Angels in USA.

- Cold war and nowadays Cold war 2.0



VIDEOGRAPHY AND THREE MANDATORY TEXTS

VIDEOGRAPHY AND 3 MANDATORY TEXTS:

1. Concetta Lo Iacono, Il volo di Tersicore. Una storia per immagini del balletto russo (1636 - 2009), Massimiliano Piretti Editore, Bologna (in corso di pubblicazione)
2. Christina Ezrahi, I Cigni del Cremlino. Balletto e potere nella Russia sovietica, Gremese, Roma 2017
3. Donatella Gavrilovich, Le arti e la danza. I coreografi russi e sovietici tra riforma e rivoluzione, Universitalia, Roma 2012

For non attending students: all texts and videos in bibliography and 1 book more choosen from the list below

1. Jennifer Homans, Apollo’s Angels: a History of Ballet, Random House, New York, 2010
2. Elena Cervellati, Théophile Gautier e la danza. La rivelazione del corpo nel balletto del XIX secolo, Clueb, Bologna 2007
3. Vito Di Bernardi, Cosa può la danza. Saggio sul corpo, Bulzoni editore, Roma 2012
4. Madison U. Sowell, Debra H. Sowell, Francesca Falcone, Patrizia Veroli, Icônes du Ballet Romantique. Marie Taglioni et sa famille, Gremese, Roma 2016
5. Marie Taglioni, Souvenirs, a cura di Bruno Ligore, Gremese, Roma 2017
6. Orlando Figes, La danza di Nataša. Storia della cultura russa (XVIII-XX secolo), Giulio Einaudi editore, Torino 2004

5 videos choosen from the list below:

1. Schiaccianoci, coreografia Ivanov e Petipa (oppure di Balanchine: Jewels , Tarantella e Tchajkovskij Pas de Deux). Oppure una versione del Il Lago dei Cigni
2. Giselle, interprete Galina Ulanova (oppure di Balanchine: Sinfonia in do, Apollon)
3. Le Fiamme di Parigi, ricostruzione di Alexei Ratmansky da Vasilij Vainonen (oppure Spartacus, cor. Grigorovich, interprete Vassilev, oppure La Muette de Portici, musica Auber, regia di Emma Dante)
4. Pétrouchka, cor. Fokin, int. Nureijev (oppure Les Noces, cor. B. Nijinska);
5. Romeo and Juliet, cor. Lavrovskij, int. Galina Ulanova (oppure cor. MacMillan, int. Alessandra Ferri)
Facoltativo, a proposito delle ricostruzioni filologiche del repertorio, il confronto di due versioni di Raymonda, mus. Glazunov: Teatro Bolshoi (int. N. Bessmertnova) e Teatro alla Scala (int. A. Novikova). Cfr. anche Sylvie Guillem au travail (Raymonda, cor. Noureev) nella raccolta di film di A. Labarthe, La danse au travail (2012).

The course will address:
- first of all, how to build a format in contemporary television, considering the idea of format and its differences from other theoretical perspectives, such as the narrative genre and genres of production; the course will then address a few case studies, as presented in the textbook, considering examples of great interest or success in a national and international perspective.
- The course will hence focus on vast narratives in television series; it will address a few main theories about contemporary narratives, but it will also consider the industrial context of production in relation with global economies. The course will focus on a few examples, significant for the radical changes of the last 30 years.

Veronica Innocenti e Marta Perrotta (eds.), Factual, Reality, Makeover. Lo spettacolo della trasformazione nella televisione contemporanea, Bulzoni, Rome 2013

Guglielmo Pescatore (ed.), Ecosistemi narrativi: dal fumetto alla serie TV, Carocci, Rome, 2018

The course investigates the film analysis through the “beginnings” and the “endings” of some movies: on one side, a few Spanish language films analyzed in English by an American scholar; on the other side, the “un-happy endings” of di Hollywood director Frank Capra, who isn’t well known among the younger generations. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

Richard K. Curry, The First Few Minutes of Spanish Language Films. Early Cues Reveal the Essence, Jefferson, MacFarland, 2017.

Vito Zagarrio The Un-Happy Ending. Re-viewing the cinema of Frank Capra, New York: Bordighera Press, 2011

PROGRAMMA FILMOLOGIA-ANNO ACCADEMICO 2017-2018 LM (6CFU)- PROF.SSA PERNIOLA

The filmology course includes an aesthetic and thematic analysis of the cinema of the Italian director Gillo Pontecorvo, known especially for his masterpiece La battaglia di Algeri (1966). During the course will be analyzed in detail all his five feature films, with a focus on language and aesthetic forms chosen by the author, characterized by a combination of classicism and modernity. We will also examine the critical aspects of his work and the ability to approach with great modernity themes until then little dealt with in the field of Italian cinema.

Lessons are given:
16, 19, 23, 26 April
3, 7, 10, 12 (10-13 hours), 14, 17, 21, 24 May
9-12 hrs unless otherwise indicated.

PROGRAM FILMOLOGY-ACADEMIC YEAR 2017-2018 LM (6CFU)- PROF.SSA PERNIOLA

Bibliography:
Ivelise Perniola, Gillo Pontecorvo o del cinema necessario, ETS, Pisa, 2016.

Filmography:

Gillo Pontecorvo:
Giovanna (1956)
La grande strada azzurra (1957)
Kapò (1959)
La battaglia di Algeri (1966)
Queimada (1969)
Ogro (1979)

Italy seen from the beach. History and Italian society through the films of a seaside setting

Filmography:

Filmografia
Domenica d’agosto (1950) di Luciano Emmer
La spiaggia (1954) di Alberto Lattuada
Vacanze a Ischia (1957) di Mario Camerini
Leoni al sole (1961) di Vittorio Caprioli
Agostino (1962) di Mauro Bolognini
Il sorpasso (1962) di Dino Risi
La voglia matta (1962) di Luciano Salce
L’ombrellone (1965) di Dino Risi
Sapore di mare (1983) di Carlo Vanzina
Ferie d’agosto (1996) di Paolo Virzì
Vacanze al mare (2013) Ermanno Cavazzoni
L’ultima spiaggia (2016) di Thanos Anastopoulos, David De Degan 

R. Eugeni, Vacanza, in R. De Gaetano (a cura di), Lessico del cinema italiano, VOL. III, Mimesis, Milano 2016, pp. 359-404.
M. Comand, Dino Risi. Il sorpasso, Lindau, Torino 2002.
E. Giacovelli, La spiaggia, in Id., La commedia all’italiana, Gremese, Roma 1995, pp. 159-165
G. Fanara, Sulla sabbia c’era lei…, in «L’Avventura», 1/2015, pp. 67-84.
M. Zinni, In viaggio verso il boom: note su cinema e turismo in Italia tra ricostruzione e miracolo economico, in «Cinema e Storia», 2016, pp. 125-135.
N. Fullwood, Bodies, Bikinis, and Bras: Beaches and Nightclubs in Id., Cinema, Gender, and Everyday Space. Comedy, Italian Style, Palgrave Macmillan, New York 2015, pp. 65-94

The course presents different aspects of historical research methodology, meant both as a set of operational tools and techniques, and as an historical theory. The concept of the Global History will be examined.
The first part of the course (12 hours) introduces the main elements of the history of historiography starting from the birth of the discipline during the nineteenth century. The second part of the course (12 hours) addresses the theoretical and methodological aspects of the use of historical sources with particular attention to "new sources" and dynamic use. The third and final part of the course (12 hours) focuses on the monographic theme of Global History.

- G. De Luna, La Passione e la ragione. Il mestiere dello storico contemporaneo, Milano, Bruno Mondadori, 2004 (pp. 259, € 20,00)

A book to be chosen from:
- E. Vanhaute, Introduzione alla World History, Bologna, il Mulino, 2015 (pp. 272, € 25,00)
- S. Conrad, Storia globale. Un’introduzione, Roma, Carocci, 2015 (pp. 212, € 19,00)

Reading it is suggested:
- S. Gruzinski, Abbiamo ancora bisogno della storia? Il senso del passato nel mondo globalizzato, Milano, Raffaello Cortina, 2016 (pp. 166, € 18,00)

A voyage in about three decades of narratives for the big and the small screen, with the second generation immigrants as leads, behind and before the camera. The battle for a new nationality law showed the presence of groups resisting the redefinition of the main narrative on Italianness. The fears raised by the attacks in the heart of the Europe joined the return of some “race figures” linked to the past of Italy, as a country involved in dynamics of power and abuse on subaltern groups, from slavery to colonialism to biopolitical governance of the immigration.

Bibliography:
Leonardo De Franceschi, Cittadinanze visuali. L’italianità negli anni della battaglia per lo ius soli (Roma, Aracne Editrice, in preparation);
plus an online collection of articles, edited by the professor.
Filmography:
currently under discussion.

The course deals with the theory and the analysis of musical performance, both in terms of a specifically musicological approach (vocal and instrumental performance practices from the Baroque to the twentieth century), and on that of cultural history. In particular, it will be examined the figure of Maria Callas, also in the relations with the social context and with other arts (literature, theater, cinema, art, media).

- Selected essays which will be communicated at the beginning of the lessons
- "Mille e una Callas. Voci e studi", a cura di Luca Aversano e Jacopo Pellegrini, II ed., Quodlibet, Macerata 2017.

Additional materials for student non attending the lessons:
Book of free choice among:
Enrico Careri, Studi su esecuzione e interpretazione. Vivaldi, Schubert, E.A. Mario, Lim, Lucca 2014; Arturo Toscanini: il direttore e l'artista mediatico, a cura di Marco Capra e Ivano Cavallini, Lim, Lucca 2011; Davide Bertotti, Il direttore d'orchestra da Wagner a Furtwängler : l'illustre aberrazione, L’epos, Palermo 2005; Hans-Heinrich Unger, Musica e retorica fra XVI e XVIII secolo, a cura di Elisabetta Zoni, Alinea Editrice, Firenze 2003; Ivano Cavallini, Il direttore d’orchestra. Genesi e storia di un’arte, Marsilio, Venezia 1998; Piero Rattalino, Storia del pianoforte, Il Saggiatore, Milano 2008; Bernard Sherman, Interviste sulla musica antica. Dal canto gregoriano a Monteverdi, Edt, Torino 2002.

The course develops aesthetic issues relating to synergies / discrepancies between sounds and movie pictures, starting from poetics of four Masters of the twentieth century.

Testoni, Marco, Musica e visual media, Audino Editore, Roma 2016 (as an alternative, MICELI, Sergio, Film music: history, aesthetic-analysis, typologies,
edited and translated by Marco Alunno, Braunwin Sheldrick, Milano Ricordi - Lucca LIM, 2013

Two books among the following (three for not attending lessons):
L'altro Novecento di Nino Rota, a cura di Daniela Tortora, Edizioni del Conservatorio di Musica San Pietro a Majella, Napoli 2014
Nino Rota: un timido protagonista del Novecento musicale, a cura di Francesco Lombardi, EDT, Torino 2012

Musica che affronta il silenzio: scritti su Tōru Takemitsu, a cura di Gianmario Borio e Luciana Galliano, Pavia University Press, Pavia 2010

Morte a Venezia. Thomas Mann-Luchino Visconti: un confronto, a cura di Francesco Bono, Luigi Cimmino, Giorgio Pangaro, Rubbettino, Soveria Mannelli 2014
ZURLETTI, Sara, Amore luminoso, ridente morte. Il mito di Tristano nella morte a Venezia di Thomas Mann, Castelvecchi, Roma 2016

KUBRICK, Stanley, Non ho risposte semplici: il genio del cinema si racconta, a cura di Gene D. Phillips, Minimum fax, Roma 2015
EUGENI, Ruggero, Invito al cinema di Stanley Kubrick, Mursia, Milano 2014

TITLE: RUSSIA / AMERICA The art of dance as a political tool (L-ART / 05) - Professor: Concetta Lo Iacono - credits 6

- Dance Theatre at the time of the Tsars. In particular Italian artists, Maria Taglioni's and Virginia Zucchi’s tournées

- The artistic and choreographic avant-garde in the years of the Russian Revolution

- The Russian born Balanchine in the States: his Apollon Musagète.

- Apollo’s Angels in USA.

- Cold war and nowadays Cold war 2.0



VIDEOGRAPHY AND THREE MANDATORY TEXTS

VIDEOGRAPHY AND 3 MANDATORY TEXTS:

1. Concetta Lo Iacono, Il volo di Tersicore. Una storia per immagini del balletto russo (1636 - 2009), Massimiliano Piretti Editore, Bologna (in corso di pubblicazione)
2. Christina Ezrahi, I Cigni del Cremlino. Balletto e potere nella Russia sovietica, Gremese, Roma 2017
3. Donatella Gavrilovich, Le arti e la danza. I coreografi russi e sovietici tra riforma e rivoluzione, Universitalia, Roma 2012

For non attending students: all texts and videos in bibliography and 1 book more choosen from the list below

1. Jennifer Homans, Apollo’s Angels: a History of Ballet, Random House, New York, 2010
2. Elena Cervellati, Théophile Gautier e la danza. La rivelazione del corpo nel balletto del XIX secolo, Clueb, Bologna 2007
3. Vito Di Bernardi, Cosa può la danza. Saggio sul corpo, Bulzoni editore, Roma 2012
4. Madison U. Sowell, Debra H. Sowell, Francesca Falcone, Patrizia Veroli, Icônes du Ballet Romantique. Marie Taglioni et sa famille, Gremese, Roma 2016
5. Marie Taglioni, Souvenirs, a cura di Bruno Ligore, Gremese, Roma 2017
6. Orlando Figes, La danza di Nataša. Storia della cultura russa (XVIII-XX secolo), Giulio Einaudi editore, Torino 2004

5 videos choosen from the list below:

1. Schiaccianoci, coreografia Ivanov e Petipa (oppure di Balanchine: Jewels , Tarantella e Tchajkovskij Pas de Deux). Oppure una versione del Il Lago dei Cigni
2. Giselle, interprete Galina Ulanova (oppure di Balanchine: Sinfonia in do, Apollon)
3. Le Fiamme di Parigi, ricostruzione di Alexei Ratmansky da Vasilij Vainonen (oppure Spartacus, cor. Grigorovich, interprete Vassilev, oppure La Muette de Portici, musica Auber, regia di Emma Dante)
4. Pétrouchka, cor. Fokin, int. Nureijev (oppure Les Noces, cor. B. Nijinska);
5. Romeo and Juliet, cor. Lavrovskij, int. Galina Ulanova (oppure cor. MacMillan, int. Alessandra Ferri)
Facoltativo, a proposito delle ricostruzioni filologiche del repertorio, il confronto di due versioni di Raymonda, mus. Glazunov: Teatro Bolshoi (int. N. Bessmertnova) e Teatro alla Scala (int. A. Novikova). Cfr. anche Sylvie Guillem au travail (Raymonda, cor. Noureev) nella raccolta di film di A. Labarthe, La danse au travail (2012).

The course will address:
- first of all, how to build a format in contemporary television, considering the idea of format and its differences from other theoretical perspectives, such as the narrative genre and genres of production; the course will then address a few case studies, as presented in the textbook, considering examples of great interest or success in a national and international perspective.
- The course will hence focus on vast narratives in television series; it will address a few main theories about contemporary narratives, but it will also consider the industrial context of production in relation with global economies. The course will focus on a few examples, significant for the radical changes of the last 30 years.

Veronica Innocenti e Marta Perrotta (eds.), Factual, Reality, Makeover. Lo spettacolo della trasformazione nella televisione contemporanea, Bulzoni, Rome 2013

Guglielmo Pescatore (ed.), Ecosistemi narrativi: dal fumetto alla serie TV, Carocci, Rome, 2018

The course investigates the film analysis through the “beginnings” and the “endings” of some movies: on one side, a few Spanish language films analyzed in English by an American scholar; on the other side, the “un-happy endings” of di Hollywood director Frank Capra, who isn’t well known among the younger generations. Re-viewing those film, the student will appreciate some clues to analyze both classic and modern cinema.

Richard K. Curry, The First Few Minutes of Spanish Language Films. Early Cues Reveal the Essence, Jefferson, MacFarland, 2017.

Vito Zagarrio The Un-Happy Ending. Re-viewing the cinema of Frank Capra, New York: Bordighera Press, 2011

The internships involves a series of theoretical-critical and technical-practical aspects related to the activities of the Teatro Palladium, with particular reference to the documentation of musical shows, theatrical pièces and film (photo, audio and video recordings, reviews, articles, posters, programs etc. ), as well as the preparation, drafting and dissemination of the corresponding presentation materials to the public (in paper and digital form).

Booklets of concerts and theatrical Works

Course content (36 hours)
The course focuses on the renewal in the field of sculpture in the second half of the 1960s. This crucial moment for the progress of contemporary art witnessed the passage from the object, as a self-contained, immutable form, to the environment and the action, taken as a new relationship established between the sculptural project and the body, nature and public space.

Content of the seminar (36 hours)
Coverage in greater depth of several themes discussed in the course. The specific focus is on certain paradigmatic exhibition events through which to outline the renewal of sculpture in the contemporary era and to analyze the critical debate that accompanied this renewal. The seminar includes visits to museums and temporary exhibitions.

Program:
R. Krauss, Passages in Modern Sculpture, MIT Press, Cambridge, 1981.

Selected essays for which the list will be provided during the course (materials supplied in PDF format).

Non-attending students:
R. Krauss, Passages in Modern Sculpture, MIT Press, Cambridge, 1981.

C. Baldacci, C. Ricci, Quando è scultura, et. al / Edizioni, Milano 2010.

learning the general frame of narrative, estetic and stylistic pattern of comedy films since the classic age to the sixties - how it shows itself in the films of authors in the title - students attending the workshop will write several papers as reviews of the films showed, facing the task to use different numbers of words. The papers will be analyzed and discussed during the lessons: comments, remarks, confrontantions will establish basic rules of writing on films and the special effort to use the nature and the skills of the viewer as a source of expressing himself writing on a film.