Università degli Studi di Urbino Carlo Bo / Portale Web di Ateneo


SOCIOLOGY OF CULTURAL AND COMMUNICATIVE PROCESSES
SOCIOLOGIA DEI PROCESSI CULTURALI E COMUNICATIVI

Film Theory and Models of Spectatorship
Teorie del cinema e modelli di spettatorialità

A.Y. Credits
2016/2017 8
Lecturer Email Office hours for students
Massimo Giuseppe Eusebio

Assigned to the Degree Course

Foreign Languages and Cultures (L-11)
Curriculum: LINGUISTICO CULTURALE ORIENTALE
Date Time Classroom / Location

Learning Objectives

Starting from a brief analysis of cinema as a cultural industry phenomenon, the first part of the course will focus on the transformations that over more than a century have affected not only the language of film, but also the cinematographic device and its form of consumption, including the type of support and the conditions of vision.

 In effect, today’s cinematographic practice can find its expression through new devices and new spaces of communication other than the classic movie theatre, creating processes of re-mediation and re-location that are situated in the grey areas between cinema and other media.

 Having outlined a brief formal analysis of cinema language, and discussed the main stylistic currents and narrative strategies, the second part of the course will delve into the mechanisms of perceptual, cognitive and emotive involvement of the cinematographic spectator. To this end, the models of spectatorship proposed by the main areas of inquiry on this subject will be examined: psychoanalysis, semiotics and sociology, analytic philosophy in film studies, cinematic cognitivism and Neurofilmology. Particular relevance will be given to the model of the cinematographic device as described by the psychoanalytic theory of cinema (Psychoanalytic Film Theory).

 Finally, by employing the tools proper of psychoanalytic inquiry it will be shown how the cinema, as a laboratory of images, affects and emotions, shares a common ground of research with psychoanalysis, even though it’s conceived and realised for completely different ends.

Program

- Cinema and cultural industries.

 - Transormation of cinema and forms of consumption.

 - The visual culture as shared practice.

 - The space of “cinema” communication.

 - The semiotic approach to the language of cinema.

 - The analysis of film.

 - The cinematographic work: technique and style.

 - Cinema, from origins to contemporary: historical outline.

 - Narrative strategies of film.

 - The “semiopragmatism” of audiovisual media.

 - Models of spectatorship: psychoanalysis, cognitivism and neurosciences (Grand Theory and Post-Theory).

 - The cinematographic device as a space of fascination.

 - Analogy between film and dream.

 - The Psychoanalytic Film Theory.

 - Christian Metz and the imaginary signifier.

 - From the Freudian Uncanny to the Lacanian Real.

 - Slavoj ?i?ek: investigation “into” the language of cinema.

 - The usage of psychoanalysis as an interpretive tool: values and limitations.

 - Psychoanalysis and art: towards a psychoanalytical aesthetics.

 Cineforum laboratory

 Structured into two brief thematic cycles, the workshop includes the filmological and narrative analysis of the following movies.

 1. From the "logic" of dreams to the Real Gaze:

 - The Birds (Usa 1963), directed by Alfred Hitchcock.

 - Mulholland Drive (Usa-France 2001), directed by David Lynch

 - Caché (France-Austria 2005), directed by Michael Haneke.

 - The Pervert’s Guide to Cinema (Uk-Austria-Holland 2006), directed by Sophie Fiennes.

 2. Family relationships in to the gaze of the asiatic cinema:

 -  Eat  drink man woman (Yin shí nán nu, Taiwan 1994), directed by Ang Lee

 - A Separation (Jodáeiye Náder az Simin, Iran 2011), directed by Asghar Farhadi.

Learning Achievements (Dublin Descriptors)

 - Basic knowledge of the mechanisms of cinema as a cultural industry, of the history of cinema and its main stylistic currents.

 - Basic knowledge of the main theories of cinema and of the paradigms of spectatorship associated with such theories.

 - Ability to analyze the communicative composition of a film, its technical and stylistic aspects.

 - Understanding of the psychological and social event (forms of suggestion, individual and collective catharsis, projective Identification, empathy and mirroring) solicited by the cinematographic device.

 - Acquisition of a greater critical outlook on film language and on the cinematographic medium; an increased ability to interpret them.

Teaching Material

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, Attendance, Course Books and Assessment

Course books

- Giaime Alonge. Il cinema. Tecnica e linguaggio. Edizioni Kaplan, Torino, 2011.

 - Francesco Casetti. The Lumière Galaxy. Seven Key Words for the Cinema to Come. Columbia University Press, New York, 2015.

 - Massimo G. Eusebio. Lo sguardo dello schermo. Teorie del cinema e psicoanalisi. Franco Angeli, Milano, 2016 (Due to be published soon).

Additional Information for Non-Attending Students

Course books

- Giaime Alonge. Il cinema. Tecnica e linguaggio. Edizioni Kaplan, Torino, 2011.

 - Francesco Casetti. The Lumière Galaxy. Seven Key Words for the Cinema to Come. Columbia University Press, New York, 2015.

 - Massimo G. Eusebio. Lo sguardo dello schermo. Teorie del cinema e psicoanalisi. Franco Angeli, Milano, 2016 (Due to be published soon).

 - Andrea Pinotti, Antonio Somaini. Cultura visuale. Immagini sguardi media dispositivi, Einaudi, Torino, 2016.

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