LITERATURE AND CINEMA
LETTERATURA E CINEMA
The 'Other' and the 'Different' in Cinema: the Vampire, the Freak, the Mad.
Il cinema e l'Altro: il vampiro, il mostro, il folle.
|Lecturer||Office hours for students|
|Roberto Mario Danese||by appointment by email|
|Teaching in foreign languages|
Course with optional materials in a foreign language
This course is entirely taught in Italian. Study materials can be provided in the foreign language and the final exam can be taken in the foreign language.
Assigned to the Degree Course
|Date||Time||Classroom / Location|
|Date||Time||Classroom / Location|
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
Didactics, Attendance, Course Books and Assessment
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
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.
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.
|« back||Last update: 23/09/2019|