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. The intersemiotic translation.

4. Examples of translation from literary language to the filmic language: Zazie dans le metro by Louis Malle; Medea by Lars von Trier; O Brother Where Art Thou? by Coen Bros.; Portrait of a Lady by Jane Campion.

5. Analysis of a movie significant for the interpretation of the cinematic language.

6. Cinema, a mythopoetic translation of reality

7. The 'Other' and the 'Different' in Cinema.

8. The Vampire: Werner Herzog, Nosferatu, Phantom der Nacht 

9. The Freak: David Lynch, The Elephant Man.

10. The Mad: Andrej Tarkovskij, Nostalghia.

11. Any other films illustrating the intersemiotic translation between literature and cinema.

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

1) The lectures will be supllemented by seminars and cinema workshops made by dr. Andrea Laquidara.

2) It is highly recommended to attend the seminar L'opera che visse due volte. The seminar will take place during the academic year; dates and times will be announced on the Blended Learning web page.

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 (also in translation in other languages):

-Bram Stoker, Dracula (any edition).

-Paolo Lago, Il vampiro, il mostro, il folle. Tra incontri con l'altro in Herzog, Lynch, Tarkovskij, Firenze, Clinamen 2019.

-other books may be indicated during the lessons.

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 students will study in full (also in translation in other languages):

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

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

1. Werner Herzog, Nosferatu, Phantom der Nacht, 1979.

2. David Lynch, The Elephant Man, 1980.

3. Andrej Tarkovskij, Nostalghia, 1983.

-other movies may be indicated during the lessons

Assessment

Written test and oral exmination. A written test is scheduled for every session of exam and is valid only for the oral examinations scheduled in the same session.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

Teaching

The student, through self-study, will have to learn the fundamentals of the cinematographic language, have present the main historical outlines of the films in the program and be able to evaluate the process of intersemiotic translation between literary text and filmic text. 

Course books

The reference literature, the reading of which will be specified by the teacher during the lessons are (also in translation in other languages):

-Bram Stoker, Dracula (any edition).

-Paolo Lago, Il vampiro, il mostro, il folle. Tra incontri con l'altro in Herzog, Lynch, Tarkovskij, Firenze, Clinamen 2019.

-Matteo Marino, I segreti di David Lynch, Padova, Beccogiallo 2018.

-Fabrizio Borin, L'arte allo specchio: il cinema di Andrej Tarkovskij, Roma, Jouvence 2004.

-Fabrizio Grosoli - Elfie Reiter, Werner Herzog, Milano, Il Castoro Cinema 1994 (e successive edizioni).

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 students will study in full (also in translation in other languages):

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

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

1. Werner Herzog, Nosferatu, Phantom der Nacht, 1979.

2. David Lynch, The Elephant Man, 1980.

3. Andrej Tarkovskij, Nostalghia, 1983.

Assessment

Written test and oral exmination. A written test is scheduled for every session of exam and is valid only for the oral examinations scheduled in the same session.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

The course is mainly held in Italian. A Facebook Group called Letteratura e cinema 2019/2020 will be created to keep the lecturer and the students in touch.