The course aims to analyse the main historiographical and theoretical aspects of cinematic dramatisation.
Analysing knowledge of cinematic dramatisation both as a prior form to film and as a regime of autonomous writing; studying the main models of dramatisation that have evolved over time and their structure.
Lectures with the help of relative audiovisual material on the history of cinema and the topics of the course with seminar discussions in class.
The course aims to analyse the main aspects of the history and theory of cinematic dramatisation. After the first part which consists of a historiographical and theoretical introduction to cinema scripts, the relationship between dramatisation and acting will be examined by analysing the case of Ugo Tognazzi. In particular, the forms of interaction between dramatisation, directorial writing and acting style will be analysed in the Italian context between the 1960s and 1970s in some exemplary films starring Tognazzi. There will also be some comparisons between dramatisations or aspects of it and the film results, to understand, among other things, the role of the actor and acting in the production of a film
ALL STUDENTS MUST BE FAMILIAR WITH THE FOLLOWING FILMOGRAPHY: L’ape regina (Una storia moderna: l’ape regina, M. Ferreri, 1963)
Venga a prendere il caffè… da noi (A. Lattuada, 1970)
Romanzo popolare (M. Monicelli, 1974).
GABRIELE RIGOLA (President)
LUCA MALAVASI
HISTORY , FORMS AND MODELS OF THE FILM SCRIPT ( LM )
The exam consists of an oral exam in which the knowledge acquired and critical-analytical capacity in discussion will be assessed with particular reference to the cases analysed in lectures.
