Academic Year 2023-2024



Marco Rossitti
Unit Credits
Teaching Period
First Period
Course Type
Prerequisites. No special requirements are required.
Teaching Methods. The course includes a series of lectures integrated with laboratory exercises (digital moviemaking), screenings, meetings with professionals in the field and possible educational visits.

Furthermore, students may be asked to elaborate, individually or in groups, short essays or films on topics agreed with the teacher and related to the course contents. The elaborates will be presented by the student and evaluated by the teacher during the exam.

Verification of Learning. The learning will be evaluated through an oral test, lasting about thirty minutes, during which the student will be required to illustrate in a broad and articulate some topics chosen by the teacher among those treated in class and/or the outcomes of any activities research carried out individually or in groups.
More Information. Attendance at lessons is strongly recommended.

Non-attending students are invited to adhere to the official exam program.

The teacher will receive students (both in presence and remotely) at the end of the lesson.

By the end of the course the student will:

[Knowledge and understanding]

– understand the historical phases in cinema’s use of electronic and digital resources, paying equal attention to questions of a technical/computer science, and a philosophical, theoretical and aesthetic, nature;

– understand the main techniques, methodologies and practices in contemporary digital cinema as well as the professional vocabulary (both in English and Italian), concerning theory and criticism and the production process, which is generally used in the field.

[Ability to apply knowledge and understanding]

– know how to analyse a film in digital format by critically examining its technical and linguistic features and stylistic and aesthetic qualities;

– know how to plan and make a low cost digital video, displaying the knowhow and skill to manage the main stages in the digital technology process, with the help of both hardware and software, from the creative writing stage to story boarding and from filming through editing to colour correction.

[Independent judgement]

– know how to distinguish between a number of different audio-visual products and evaluate those that best exploit the communicative and expressive potential of new computer based technologies.

[Communicative ability]

– know how to display an understanding, in clear and appropriate language and both orally and in writing, of specific theoretical and technical issues in digital cinema and television.

[Learning skills]

– know how to choose and profitably utilise the bibliographic tools best suited for exploring and updating knowledge and the technological and computer resources most appropriate for satisfying specific needs and solving problems of a technical and practical nature.

The course is dedicated to the study of the main transformations introduced in the film field by electronic and digital technologies, transformations that involved every phase of the film production process and the modalities of their distribution, use and conservation.

1. Processes and techniques of electronic and digital cinema.

2. Digital and film genres. Digital and art cinema.

3. Short forms in contemporary audiovisual panoramas.

4. The “postcinema” and the new spectator.

Detailed plan:

a. The three natures of the image: analogical, digital, synthetic.

b. From the audiovisual experimentation of the seventies and eighties to electronic cinema. From electronic cinema to digital cinema.

c. From the “kino eye” to the “kino brush”: evolution and new perspectives of the relationship between cinema and painting. The “designed” cinema and the question of photorealism.

d. Digital and film genres. Digital and art cinema.

is. Processes and techniques of electronic and digital cinema: chroma- key, morphing, compositing, digital graphic, motion capture, performance capture, digital editing, color correction, 3D and 4D shooting.

f. The short forms of audiovisual communication: discursive, narrative and genre types; technical solutions, production contexts and methods of use.

g. The “postcinema” and the new spectator: convergence, remediation, relocation, intermediality, interactivity, participation. “Broadcast yourself”: the YouTube revolution. “Be a hero”: the Go-Pro generation. The “mobile cinema”.

Sources of study for the exam:

– lecture notes provided by the teacher;

– two essays chosen from: Lev Manovich, “Il linguaggio dei nuovi media”, Olivares, Milano 2002; David N. Rodowick, “Il cinema nell’era del virtuale”, Olivares, Milano 2008; Christian Uva, “Impronte digitali. Il cinema e le sue immagini tra regime fotografico e tecnologia numerica”, Bulzoni, Roma 2009; Christian Uva, “Cinema digitale. Teorie e pratiche”, Le Lettere, Firenze 2012 (ristampa 2014); Simone Arcagni, “L’occhio della macchina”, Einaudi, Torino 2018; Franco Marineo, “Il cinema del terzo millennio”, Einaudi, Torino 2014; Christian Uva, “Ultracorpi. L’attore cinematografico nell’epoca della digital performance”, Bulzoni, Roma, 2011.

A general bibliography regarding the contents of the course will be provided in class.

N.B. For the purposes of the examination it is mandatory to have a thorough knowledge of at least ten films among those analyzed in the course and listed in a general Filmography that will be provided by the teacher during the lessons.