In an era in which the narrative and poetic languages are increasingly tense to intermediality, with a strong directionality towards the audiovisual narration, it is important to prepare students to decode the rhetoric by which he film diegesis is built. This rethoric is the basis of languages of all forms of audiovisual narrative, the film, to the drama, to documentaries, to television service, to video games.It is therefore necessary to study the specificity of film language compared to literary. At the end of the study program the student is expected to master the basic elements of film language, with the ability to read the expressive specificity of a film and the differences generated by the translation process, compared to the development of style of a literary text.

1. Introduction on course.

2. The language of film: general considerations. Vision and analysis of segments and an entire movie that represent a significant example of the specificity of film language.

3. Food as the theme of literary and cinematic narrative.

4. Reading and analysis of literary texts that have as their theme the food as the subject of the narrative and as a metaphor and study of cinematographic works in relationship with them through the mediation of the script.

5. Analysis of the transformation of the literary text in the language of cinema: from the story to the diegesis, from decoupage to editing.

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

Teaching

Frontal lessons, seminars and tutorials.

Course books

The reference literature, the reading of which will be specified by the teacher during the lessons are:

-Plato, Symposium  

-Petronius, Satyricon (Chapters 26-78:  the cena Trimalchionis)

-Karen Blixen, Babette's Feast, in K.B., Anecdotes of Destiny, 1985

 

For the basics of the language of film students will study in full:

-G. Rondolino-D. Tomasi, Manuale del film, Torino, UTET 2006

 

On differences between literary and cinematic text:

-A Gaudrealt, Du littéraire su filmique: Système du récit, Paris, Colin 1999

 

The course is scheduled for partial or total vision of the following films:

 

-Il banchetto di Platone by Marco Ferreri (Italy-France 1989)

-Fellini Satyricon by Federico Fellini (Italy 1969)

-La grande abbuffata by Marco Ferreri (France-Italy 1973)

-The Cook, the Thief, His Wife & Her Lover (Il cuoco, il ladro, sua moglie e l'amante), by Peter Greenaway (UK 1989)

-Babettes Gæstebud by Gabriel Axel (Denmark 1987)

The course is mainly held in Italian.