A HERMENEUTICAL APPROACH TO TRAINING PRACTICES (2017/2018)

Learning outcomes

Students are required to be able to observe practices on the cinematographic screen and to return them with accurate descriptive terms, both through the production of written texts and oral reports.

At the end of the course students will be able to:
- to capture the plot’s narrative dimension of the films taken into consideration;
- to recognize the contents of each single film, that means: the film subject; symbols and metaphors, considering each film’s complexity of elements - images and their qualities, colors, framing, editing, etc.; the soundtrack, with its dialogues, its music, noises, etc.
- to formulate an in-depth hermeneutical interpretation of a film;
- to recognize possible connections between the interpretative elements formulated with the professional trainer profile and his/her skills.

Educational practices can be observed in their living contexts, but also through audiovisual documents such as video recordings, as well as specific cinematographic works. In this case, it becomes essential to appreciate even the stylistic choices – and more exactly the aesthetic choices – made by filmmakers. In this way, it is possible to exercise a hermeneutic capacity of these texts, to obtain useful suggestions on the formative level.

Contents:
Images of training in films: textual components of films that could be used for adults training.
Examples of films that could be taken into account during classes: Film blu (K. Kieslowski); L’enigma di Kaspar Hauser (W. Herzog); La parola ai giurati (S. Lumet).

Learning activities:
Frontal demonstration lessons about the interpretation of films. Group exercises on audiovisual excerpts: elaborating interpretations between subjects in learning in an interactive setting.

Filmography:
L’enigma di Kaspar Hauser, regia di Werner Herzog (1974). Tit. orig. Jeder für sich und Gott gegen alle.
Film blu, Film bianco, Film rosso, regia di Krzysztof Kieślowski, Francia, Polonia 1993-1994. Tit. orig. Tres coleurs. Blu, Blanc, Rouge.
Blue, regia di Derek Jarman, Regno Unito 1993. Tit. orig. Blue.
Class Enemy, regia di Rok Biček, Slovenia 2013.
Storie d’amore, regia di Jerzy Sthur, Polonia 1997.
Il diavolo probabilmente, regia di Robert Bresson, Francia 1977. Tit. Orig. Le diable probablement.
Volevo solo dormirle addosso, regia di Eugenio Cappuccio, Italia 2004.
La parola ai giurati, regia di Sidney Lumet, USA 1957. Tit. orig. Twelve Angry Men.

Assessment method:
Learning assessment will take place through a presentation of an interpretative text of a film not taken into account during the course; that means a film chosen among those proposed by the lecturer during the course, or chosen by the student respecting the purpose of the course: the education of the trainer working in the organizations.
The presentation can be supported by slides with screenshots reasonably chosen from films.

Assessment criteria:
Marks will be identified and proposed on the basis of a set of elements and factors noted by the teacher during the students’ presentation of their works: pertinence, depth, and originality of interpretations; the quality of the visual or audiovisual support chosen by students; quantity and quality of references to the texts studied.

STUDENT MODULE EVALUATION - 2017/2018