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PROGRAMMA TRIENNALE 2016 – 2019 TECNICHE DI MONTAGGIO Il Corso Di Tecniche Di Montaggio Affronterà Lo Studio Dell'arte Del M

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PROGRAMMA TRIENNALE 2016 – 2019 TECNICHE DI MONTAGGIO Il Corso Di Tecniche Di Montaggio Affronterà Lo Studio Dell'arte Del M PROGRAMMA TRIENNALE 2016 – 2019 TECNICHE DI MONTAGGIO Il corso di tecniche di montaggio affronterà lo studio dell'arte del montaggio che è sostanzialmente il linguaggio per raccontare con le immagini in movimento: in breve, come sosteneva già Ejzenstejn, è il cinema. Il corso affronterà tutti gli aspetti connessi al linguaggio visivo e alla comunicazione audiovisiva nel senso più ampio, dal documentario alla sit-com, dal video musicale alla fiction cinematografica, analizzandone i problemi, evidenziandone convenzioni, illustrandone impeccabilmente tipologie, strumenti e tecniche. Teoria e pratica del montaggio cinematografico e audiovisivo sono i punti nodali di questo corso che propone un percorso trasversale all'interno dei vari linguaggi cinematografici e non: dalla sceneggiatura alla regia, dalla scenografia alla fotografia. Il montaggio costituisce un aspetto della produzione e della rappresentazione cinematografica tanto centrale quanto tradizionalmente trascurato. Le funzioni e gli sviluppi delle forme del montaggio, dal cinema delle origini al recente avvento del digitale, vengono presentati tenendo conto non solo delle teorizzazioni e degli interventi dei grandi maestri ma anche delle tecniche. Il montaggio non è un mezzo "naturale", né il frutto di una rivelazione improvvisa, ma il risultato di un'evoluzione dialettica. Il programma del corso continua ad avere il cinema come referente esemplare, ma l'indagine si muove con grande libertà nei più diversi campi della produzione artistica, con illuminanti incursioni nell'antropologia e nell'estetica filosofica. Ne risulta un quadro interpretativo capace di gettar luce non solo sui fondamenti teorici e sull'evoluzione storica del montaggio ma anche sulle prospettive, ancor oggi in larga parte inesplorate, di una cultura dell'audiovisivo. Argomenti del corso: 1. Il montaggio dagli albori alla modernità. 2. Montaggio invisibile, montaggio delle attrazioni. 3. Montaggio: spazio e tempo nel profilmico (montaggio parallelo e montaggio alternato, ellisse, sequenza ad episodi, flashback, flashforward, overlapping editing, etc). 4. Ideologia: montaggio proibito, piano sequenza e profondità di campo. 5. Componenti ritmico-temporali: jump cut, falsi raccordi, inserti non diegetici, etc. 6. Pre-produzione: a cosa serve e come si progetta uno storyboard. 7. Timecode e Timeline: know-how. 8. Postproduzione: dissolvenze, titoli di testa e coda, rolling e crawling. 1. Il montaggio digitale: non linear video editing e modalità lossless e lossy. 2. Modi, tempi, usi e consumi: cinema, pubblicità, videoclip, video d'arte e filmati tecnici. 3. Effetti speciali e Color correction. 9. Settaggio dell'esportazione per le finalità desiderate Durante il corso verranno toccati temi storici, teorici e analitici legati alla storia delle immagini in movimento. Ogni esempio o citazione verrà supportata da materiale audiovisivo di repertorio. Sono previste proiezioni, analisi e discussioni collettive. Il laboratorio è costituito da esercitazioni collettive ed individuali con checking settimanale. OBIETTIVI FORMATIVI 1. Fornire le conoscenze tecniche di base del montaggio audiovisivo 2. Conoscere il linguaggio cine-televisivo con l’analisi di film 3. Riconoscere elementi estetici e linguistici portanti del montaggio 4. Affinare l’analisi critica dell’oggetto cinema 5. Estetica del montaggio BIBLIOGRAFIA • Diego Cassani Manuale del montaggio. Tecnica dell'editing nella comunicazione cinematografica e audiovisiva, UTET, Torino. • Federico Vitella Il montaggio nella storia del cinema. Tecniche, forme, funzioni, Marsilio Editore. A SCELTA uno tra i seguenti testi • Sergej M. Ejzenstejn Teoria generale del montaggio, Marsilio Editore, Venezia. • Vincent Amiel Estetica del montaggio, Lindau Una dispensa verrà realizzata al termine delle lezioni e farà parte integrante del programma d’esame. Tutte le ulteriori indicazione bibliografiche verranno fornite durante le lezioni. 27 Gennaio 2017 Il Professore Giovanni Carpanzano ___________________________________ .
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