Film & Media Studies

This course explores the dynamic and complex intersection of media, culture and the city in global metropolises. The course provides students with a comprehensive introduction to key theoretical issues on digital screen, media, spectacle, urban experience, popular culture, and globalization in global cities. It also critically discusses methodological issues on the analytical framework and knowledge-forms in media and cultural research for local contexts. Students are encouraged to engage with current debates on epistemological and methodological questions in the fields of media and communication studies as well as urban and visual cultural studies and to enrich their knowledge of urban culture and politics in a systematic way. In doing so, the course helps students to grasp the complexity of media culture and to analyze creatively and critically a broad range of media products and cultural materials.

The course analyzes the complex relationship between media and gender, focusing on gender equality, women’s rights, and unbiased gender views. It draws on the theories, topics, and qualitative methods of western feminist critical communication research, revealing that the global media organization and power system rely on the operation of political economy and ideology, and construct the relationship between audience goods and class, gender, race and science and technology to create surplus value.

This is a graduate level course that is part of the Laurea Magistrale program. The course is intended for advanced level students only. Enrollment is by consent of the instructor. This course covers basics concepts in the history of Italian cinematography. In particular, the course tackles a number of common focal points that link cinema with the history of Italian culture (method of representation, cultural industry, relationships with other expressive forms). The class starts with an analysis of the concept of “national cinema” for better understanding both the focus and the approach adopted by the lecturer in presenting the Italian case study. After this methodological introduction, the class investigates the history of Italian cinema from the silent era to nowadays. In doing that, Italian films are analyzed both as art form and as economic good. The aim of the class is twofold. On the one hand it investigates an historical path in order to retrace the evolution of Italian films in terms of style, aesthetics, themes, etc. On the other hand, it detects relationships between Italian films, Italian history, Italian art forms and Italian cultural industry. The investigation of Italian film history is supported by the analysis of some films which are particularly important for understanding key-periods and key-genres of Italian film history. The films are: MA L'AMOR MIO NON MUORE (1913) by Mario Caserini, CABIRIA (2014) by Giovanni Pastrone, OSSESSIONE (1943) by Luchino Visconti, LADRI DI BICICLETTE (1948) by Vittorio De Sica, RISO AMARO (1949) by Giuseppe De Santis, LA STRADA (1954) by Federico Fellini, DIVORZIO ALL'ITALIANA (1961) by Pietro Germi, PER UN PUGNO DI DOLLARI (1964) by Sergio Leone, BLOW-UP (1966) by Michelangelo Antonioni, PROFONDO ROSSO (1975) by Dario Argento, CALL ME BY YOUR NAME (2017) by Luca Guadagnino, DOGMAN (2018) by Matteo Garrone. The course is structured in lecture/seminars led by the teacher. Sessions are accompanied with power point presentations, video clips, and film screenings. All students are required to attend the class, the screenings and to actively participate in class discussion.

This course explores queer and trans screen cultures from film to television and digital media. Decentering white, cisgendered and male narratives that are often at the heart of studies of queer culture, the module introduces students to queer and trans stories that have been shaped – and often sidelined – by inequalities of race, class, (dis)ability, nationality, sexuality and gender identity. Drawing on debates about gendered and sexual fluidities and LGBTQ+ identity politics that have emerged from queer and trans studies, the course troubles the assumed relationship between visibility and progressive politics whilst considering questions of desire, authenticity, orientation, privilege, shame and pleasure. We ask: How do marginalised communities encounter and challenge the paradigms of dominant culture? (How) has digital production, distribution and exhibition transformed contemporary queer and trans representation? What are the conventions that shape understandings of queer and trans culture and the ongoing exclusions of multiply marginalised groups? Engaging with screen media alongside theoretical texts (and others that blur the lines between the two), students will consider radical approaches to the study of sexuality. Throughout, students will explore how contemporary media makers work through their attachments to and critiques of social movements of the twentieth century, with an attention to intersectionality, identity politics and the personal politics of social justice.