AIMS AND LEARNING OUTCOMES

The aim of this course is to provide a basic framework for the understanding of the main conceptual, methodological and historiographic issues of the field of visual culture studies.

At the end of the course, the student will be able to:

- demonstrate a solid understanding of the historiographic and methodological issues of visual culture studies (knowledge and understanding)
- develop the ability to build links between phenomena and propose analysis that takes into account historical development also in in comparative terms (knowledge and ability of applied comprehension)
- recognize the nature of visual sources for contemporary history and be able to assess the importance of the specific problems faced (knowledge and skills of applied comprehension)
- develop a critical approach to historiographic interpretations in the field of visual culture studies (autonomy of judgment).
- use an appropriate disciplinary language articulating the problems analyzed according to their different aspects (institutional, economic, cultural ...) and highlighting their connections (written and oral communication skills).

TEACHING METHODS

Unless otherwise specified, lessons will be in presence. Students who will ask to attend the course at distance will be considered as 'non-attending'.

The course consists of lectures for a total of 60 hours. The course is articulated into a number of thematic units, dedicated to different aspects of the field of visual culture studies. The use of primary sources, web resources and of audiovisual material is envisaged; powerpoint presentations will be used. Seminars and lectures by scholars and external experts will be possible for the exemplification of interpretative paths and research experiences on specific problems. Continuity of attendance is recommended. Presentations in ppt and other learning material will be available on Aulaweb.

SYLLABUS/CONTENT

Students who will ask to attend the course at distance will be considered as 'non-attending'.

For both modules (6 and 9 credits), the program is articulated into different thematic units:

1. Visual culture: a genealogical survey

2. True, false, fictive

3. Visual culture and stereotypization

4. Icons. Construction and de-construction

5. Circumstancial paradigms

6. Visual culture and political power

7. Revolutions. Visual culture and protest

8. Memory and post-memory

9. Visual culture and material culture

10. Variations in scale

11. The power of images

The modules are differentiated by the diverse level of historiographical understanding, connected with the study of specific monographs (1 for 6 credits, 2 for 9 credits), in addition to the study of the bibliography common to both modules.

For the 6 cfu module the student is required to be able to orientate himself/herself with respect to the main articulations of visual culture studies.

For the 9 cfu module, the student is required to orientate himself/herself with respect to the main articulations of visual culture studies; the student has to prove an adequate understanding of the methodological and historiographic issues which have characterized the so-called “iconic turn”.
 

RECOMMENDED READING/BIBLIOGRAPHY

Students who will ask to attend the course at distance will be considered as 'non-attending'.

ESSENTIAL READING

P. Burke, Testimoni oculari. Il significato storico delle immagini, Roma, Carocci, 2017 [2001].

A. Pinotti e A. Somaini, Cultura visuale. Immagini, sguardi, media, dispositivi, Einaudi, Torino 2016.

In addition for attending students: 2 papers chosen among those included in the Aulaweb page of the course.

In addition for non-attending students: 4 papers chosen among those included in the Aulaweb page of the course

LIST OF BOOKS TO CHOOSE FROM

For the 6 cfu program the student must prepare, in addition to the essential reading common to both modules, 1 monograph chosen from the list below.

For the 9 cfu program, the student must prepare, in addition to the essential reading common to both modules, 2 monographs chosen from the list below.

Students may optionally choose to read the monographs in the original language in which they were published.

W. J. T. Mitchell, Pictorial Turn. Saggi di cultura visuale, Raffaello Cortina, Milano 2017.

J. Crary, Le tecniche dell'osservatore. Visione e modernità nel XIX secolo, Einaudi, Torino 2013 [1990].

D. Freedberg, Il potere delle immagini. Il mondo delle figure: reazioni e emozioni del pubblico, Einaudi, Torino 2009 [1991].

G. Didi-Huberman, Immagini malgrado tutto, Raffaello Cortina, Milano 2005 [2003].

C. Ginzburg, Paura, reverenza, terrore, Adelphi, Milano 2015.

D. Forgacs, Margini d'Italia, Laterza, Roma-Bari 2015 [2014].

J. Meda, Falce e fumetto: storia della stampa periodica socialista e comunista per l’infanzia in Italia (1893-1965), Nerbini, Firenze 2013.

A. Spiegelman, Metamaus, Einaudi, Torino 2016 [2011].

G. P. Piretto, Memorie di pietra. I monumenti delle dittature, Raffaello Cortina, Milano 2014.

A. Mignemi, Lo sguardo e l'immagine, Bollati Boringhieri, Torino 2003.

A. Minuz, La Shoah e la cultura visuale, Bulzoni, Roma 2010.

F. Rousseau, Il bambino di Varsavia. Storia di una fotografia, Laterza, Roma-Bari 2011 [2009].

M. Carli, Vedere il fascismo. Arte e politica nelle esposizioni del regime (1928-1942), Carocci, Roma 2020.

V. Zagarrio (a cura di), Cinema e storia 2015. Cinema e antifascismo. Alla ricerca di un epos nazionale, Rubbettino, Soveria Mannelli (CZ) 2015.

M. J. Casey, La seconda vita del Che. Storia di un'icona contemporanea, Feltrinelli, Milano 2010 [2009].

T. M. Di Blasio, Cinema e Storia. Interferenze/Confluenze, Viella, Roma 2014.

V. Lavoie, L'affaire Capa. Processo a un'icona, Johan & Levi Editore, Monza 2019 [2017].

C. Uva, L'immagine politica. Forme del contropotere tra cinema, video e fotografia nell'Italia degli anni Settanta, Mimesis, Milano-Udine 2015.

A. O'Leary, The Battle of Algiers, Mimesis International, Milano-Udine 2019.

E. Weizman, Forensic Architecture. Violence at the Threshold of Decectability, Zone Books, New York 2017.