OVERVIEW

The course focuses on the main historiographical and theoretical aspects of the film screenplay.

AIMS AND CONTENT

LEARNING OUTCOMES

Analysing knowledge of screenplay both as a prior form to film and as a regime of autonomous writing; studying the main models of script that have evolved over time and their structure.

TEACHING METHODS

The lessons will be held in hybrid mode, in presence with the possibility for students to follow even at a distance via videoconference on the Teams platform (the access code will be provided here).

SYLLABUS/CONTENT

The course aims to deepen the main aspects of the history and theory of film script. After a first part of historiographical and theoretical introduction on writing for cinema, where concepts and notions such as narration, action, storytelling, adaptation, etc. we will examine the multiple relationships between the poetics of writer Piero Chiara and cinema. In particular, we will study the links and intertwining that can be found between his narrative work, the adaptations taken from some of his novels, and the various collaborations for cinema and television that have characterized a large part of his artistic life. To analyze Chiara's case we will discuss her poetics as a writer and some of her works of fiction, compared with screenplays, archive materials and documents of various kinds that testify to the work of preparation of filmic works.

RECOMMENDED READING/BIBLIOGRAPHY

Bibliografia per gli studenti che utilizzano l'insegnamento per 6 cfu

1) F. Vanoye, La sceneggiatura. Forme, dispositivi, modelli, Lindau, Torino, 1999

 2) Un romanzo tra i seguenti:

P. Chiara, La spartizione, 1964 (qualsiasi edizione)

P. Chiara, La stanza del vescovo, 1976 (qualsiasi edizione) 

3) M. Gervasini, F. Roncoroni (a cura di), «Come il maiale». Piero Chiara e il cinema, Marsilio, Venezia, 2008.

I NON FREQUENTANTI DEVONO AGGIUNGERE:

M. Comand (a cura di), Sulla carta. Storia e storie della sceneggiatura in Italia, Lindau, Torino, 2006.

Bibliografia per gli studenti che utilizzano l'insegnamento per 9 cfu

1) F. Vanoye, La sceneggiatura. Forme, dispositivi, modelli, Lindau, Torino, 1999

2) Due romanzi tra i seguenti:

P. Chiara, Il piatto piange, 1962 (qualsiasi edizione)

P. Chiara, La spartizione, 1964 (qualsiasi edizione)

P. Chiara, La stanza del vescovo, 1976 (qualsiasi edizione)

P. Chiara, Il cappotto di astrakan, 1978 (qualsiasi edizione)

3) M. Gervasini, F. Roncoroni (a cura di), «Come il maiale». Piero Chiara e il cinema, Marsilio, Venezia, 2008.

I NON FREQUENTANTI DEVONO AGGIUNGERE:

M. Comand (a cura di), Sulla carta. Storia e storie della sceneggiatura in Italia, Lindau, Torino 2006.

The list of texts may undergo changes and therefore it is advisable, first purchase or loan, to wait for the start of the lessons and the
presentation of the program by the teacher.

Filmografia obbligatoria per tutti gli studenti:

Venga a prendere il caffè da noi, Lattuada, 1970

Il piatto piange, Nuzzi, 1974

La stanza del vescovo, Risi, 1977

Il cappotto di astrakan, Vicario, 1979.

TEACHERS AND EXAM BOARD

Exam Board

GABRIELE RIGOLA (President)

LUCA MALAVASI

LESSONS

LESSONS START

March 2022

Class schedule

HISTORY, FORMS AND MODELS OF THE FILM SCRIPT ( LM )

EXAMS

ASSESSMENT METHODS

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. 

Exam schedule