Ateneo - UPO

Cinema: from Italian Neorealism to contemporary cinema
(Please note! This course is intended only for those who have already completed the module covering the period from early cinema to classical Hollywood cinema)

Required filmography:
1. Roma città aperta (Roberto Rossellini, Italia 1946)
2. Paisà (Roberto Rossellini, Italia 1946)
3. La terra trema (Luchino Visconti, Italia 1948)
4. Ladri di biciclette (Vittorio De Sica, Italia 1948)
5. Tarda primavera (晩春, Yasujirō Ozu, Giappone 1949)
6. Umberto D. (Vittorio De Sica, Italia 1952)
7. Viaggio a Tokyo (東京物語, Yasujirō Ozu, Giappone 1953)
8. Viaggio in Italia (Roberto Rossellini, Italia/Francia 1954)
9. Il posto delle fragole (Smultronstället, Svezia 1957)
10. Fiori d'equinozio (彼岸花, Yasujirō Ozu, Giappone 1958)
11. I 400 colpi (Les Quatre Cents Coups, François Truffaut, Francia 1959)
12. La dolce vita (Federico Fellini, Italia 1960)
13. Fino all'ultimo respiro (À bout de souffle, Jean-Luc Godard, Francia 1960)
14. L'avventura (Michelangelo Antonioni, Italia/Francia 1960)
15. Viridiana (id., Luis Buñuel, Messico/Spagna 1961)
16. Questa è la mia vita (Vivre sa vie, Jean-Luc Godard, Francia 1962)
17. Il disprezzo (Le Mépris, Jean-Luc Godard, Francia/Italia 1962)
18. Gertrud (id., Carl Theodor Dreyer, Danimarca 1964)
19. 2001: Odissea nello spazio (2001: A Space Odyssey, Stanley Kubrick, USA/UK 1968)
20. Easy Rider (id., Dennis Hopper, USA 1969)
21. Taxi Driver (id., Martin Scorsese, USA 1976)
22. Blade Runner (id., Ridley Scott, USA 1982)
23. Strange Days (id., Kathryn Bigelow, USA 1995)
24. Eyes Wide Shut (id., Stanley Kubrick, USA/UK 1999)
25. Kill Bill: Volume 1 (id., Quentin Tarantino, USA 2003)
26. Kill Bill: Volume 2 (id., Quentin Tarantino, USA 2004)

Required reading:
Sandro Bernardi, L’avventura del cinematografo, Venezia, Marsilio, 2007. (solo la seconda parte, da pagina 193)
Dario Tomasi, Analisi del film e storia del cinema, Torino, UTET, 2023. (solo i capitoli dedicati ai film in filmografia)
Paolo Bertetto (a cura di), L'interpretazione dei film: undici capolavori della storia del cinema, Venezia, Marsilio, 2018. (solo i capitoli dedicati ai film in filmografia)
Marc Cerisuelo, Il disprezzo, Udine, Mimesis, 2026.

To frame the importance of cinema in the second half of the twentieth century; to account for the main authors, movements and genres of the Seventh Art; to provide some elements of film theory; to understand cinematic language.
(Please note! This course is intended only for those who have already completed the module covering the period from early cinema to classical Hollywood cinema)

Interest and curiosity for cinema. Some notion of history and literature.
(Please note! This course is intended only for those who have already completed the module covering the period from early cinema to classical Hollywood cinema)

Frontal lessons with audiovisual materials; discussion in the classroom.
(Please note! This course is intended only for those who have already completed the module covering the period from early cinema to classical Hollywood cinema)

(Please note! This course is intended only for those who have already completed the module covering the period from early cinema to classical Hollywood cinema)

Oral exam.
(Please note! This course is intended only for those who have already completed the module covering the period from early cinema to classical Hollywood cinema)

Postwar Japanese Cinema. The Cinema of Modernity (Italian Neorealism, the French New Wave, the auteur cinema of the 1960s). New Hollywood. Postmodern Cinema. Contemporary Cinema.
(Please note! This course is intended only for those who have already completed the module covering the period from early cinema to classical Hollywood cinema)

Basic knowledge of the history of cinema from the post-war period to the present day.
(Please note! This course is intended only for those who have already completed the module covering the period from early cinema to classical Hollywood cinema)