Claudio DE FIORES
Insegnamento di COSTITUZIONE E CINEMA
Corso di laurea magistrale a ciclo unico in GIURISPRUDENZA
SSD: IUS/08
CFU: 6,00
ORE PER UNITÀ DIDATTICA: 36,00
Periodo di Erogazione: Primo Semestre
Italiano
Lingua di insegnamento | Italiano |
Contenuti | Il corso si pone un duplice obiettivo. |
Testi di riferimento | Prima parte. Si consiglia lo studio dei seguenti contributi apparsi su riviste on-line: |
Obiettivi formativi | Il corso di “Costituzione e Cinema” mira a fornire agli studenti una cultura giuridica specialistica finalizzata all'apprendimento dei principi fondanti dell’ordinamento costituzionale, con particolare riferimento alla libertà di manifestazione del pensiero, alla libertà di informazione, alla libertà dell’arte. Il corso prevede, pertanto, una prima parte mirante a fornire agli allievi le nozioni giuridiche di base, propedeutiche per la comprensione degli argomenti più specialistici aventi ad oggetto la libertà di espressione cinematografica. |
Prerequisiti | Propedeuticità: Istituzioni di diritto pubblico e costituzionale. |
Metodologie didattiche | Lezioni frontali; seminari di approfondimento |
Metodi di valutazione | Ai fini della verifica dell’apprendimento lo studente dovrà sostenere una prova orale, per il superamento della quale dovrà dimostrare di conoscere e comprendere in maniera adeguata i temi trattati, cogliendo le questioni essenziali sottese al rapporto tra diritto e cinema. La prova orale si svolgerà con un colloquio articolato in almeno tre domande sugli argomenti rientranti nel programma. Il colloquio potrà essere condotto anche da più componenti della Commissione d’esame. Durante il colloquio sarà verificata e valutata la capacità di analisi critica dei temi trattati, la capacità di sintesi e di collegamento idonea a individuare i nessi problematici esistenti tra Costituzione e cinema, nonché l'avvenuta acquisizione di un lessico giuridico appropriato. |
Altre informazioni | Gli studenti frequentanti svolgeranno prove |
Programma del corso | PARTE GENERALE |
English
Teaching language | Italian language |
Contents | The lessons have a dual objective: a) examine the constitutional profiles of freedom of cinematographic expression: the articulation of rights (freedom of expression of thought, freedom of art), the limits set by the law (to protect personality, dignity, public order), the regulatory implications on the organization of powers; |
Textbook and course materials | C. DE FIORES, Cinema e costituzione, Mimesis, Milano, 2024. |
Course objectives | The "Constitution and Cinema" lessons aim to provide students with a specialized legal culture aimed at learning the founding principles of the constitutional system, with particular reference to the freedom of expression of thought, freedom of information, freedom of art. The course therefore includes a first part aimed at providing students with basic legal notions, preparatory for understanding the more specialized topics relating to freedom of cinematic expression. |
Prerequisites | Preparatory exam: |
Teaching methods | Lectures, in-depth meetings, legal analysis of films. |
Evaluation methods | The student will have to take an oral test, to pass which he will have to demonstrate that he adequately knows and understands the topics covered and the dynamics of the relationship between law and cinema. The oral test will take place as an interview divided into at least three questions. The interview may also be conducted by more than one member of the examination commission |
Other information | The exam program will be agreed with the student during the lessons or by appointment with the teacher. |
Course Syllabus | The genesis of cinema and the laws of 1889; Walter Benjamin and copyright; Film censorship: original connotations and regulatory aspects; The Review Commissions. Cinema in the face of the war emergency; The debut of film censorship in liberal Italy. The advent of sound and the law on compulsory programming; The offensive against foreigners. The “provisions in favor of national film production” and the “dubbing tax”; The autarchic turning point of 1938 and the racial laws; The censorship of Soviet cinema and the introduction of a new regulatory case: the incitement "to hatred between the various social classes"; The protection of the "decency" and "prestige of the Nation": gangster movies and "school and incentive to crime" films; The defense of the moral order: the censorial role of the "mother of the family", the Church against "impure" cinema and the "tolerant" censorship of the fascist regime; The fascistization of the Review Commissions and war propaganda films; The dissolution of the fascist state. The Psychological Warfare Branch and purges in cinema; Crisis and rebirth of Italian cinema. The New Order of the Film Industry; The debate on cinema in the Constituent Assembly; Freedom of cinematic expression and the constitutional limit of morality; Cinema and the freedom of art in the Italian Constitution; Freedom of cinematic expression and constitutional protection of privacy; The restoration of mandatory programming and the unresolved issue of preventive control over scripts. The censorship offensive against French cinema; Censorship and neorealism; The repression of political cinema; Cinema and public order; Censorship of pacifist films; The removal of the anti-fascist resistance in post-war Italian cinema; The Andreotti laws; Beyond morality: the protean face of political censorship. The defense of the prestige of the institutions, the maintenance of good international relations, the protection of state security; The repressive action of the Scelba government against "dissolute" films; The Bolognini case and the censorship of Swedish cinema; “The obstructionism of the majority” and the failure to implement the Constitution; The new “provisions on cinematography” of 1956; The censorship of posters and the techniques of taming dubbing; Film censorship in the 1960s. Between review and criminal action; Political censorship and state secrecy; The 1962 Law on the “Review of Films and Plays”; Jurisprudential profiles of cinematographic art: art, non-art, obscene art; A new figure of film critic: the judge; The new composition of the review commissions and the issue of films "forbidden to minors"; The establishment of cross-examination before the review commissions: between sequences to be "cut" and scenes to be "lightened"; The arbitrary use of the notion of morality and the tightening of the repressive power of the Commissions. The Ferreri case; Censorship of “perverted” cinema; The judiciary against the "obscene" cinema of the Sixties; The right to be forgotten at the cinema: the Landru case; The first “Cinema law”; Contempt of religion and cinematographic freedom. The Pasolini case; Rai and Cinema in the Seventies. The reform of the regulation of the radio and television system and the new regional competences in the cinematographic field; The Pasolini and Bertolucci cases; The reform of the radio and television system in the 1980s and the establishment of the Single Entertainment Fund; The judicial offensive against erotic cinema; Cinema and religion in the eighties. The privatization processes of the nineties and the new architecture of the Italian cinema system; From the 1990 antitrust legislation to the Gasparri law; Cinematographic "sadism" and new forms of censorship of political films; Cinematographic federalism and revision of Title V of the Constitution; The second “law Cinema”; Cinema and blasphemy on the threshold of the 21st century; From the “second” to the “third Cinema law”; Cinema and the protection of minors in the 2000s: between Nudge Theory and renewed censorial instincts; Censorship and the market; Genesis and development of copyright; Intellectual works: regulatory discipline and constitutional profiles; Cinematographic work and copyright; Film production and distribution; The moral right of the author and the creation of the work; The copyright of the author and the obligation to register the cinematographic work; EU legislation on cinema; the window system and the anti-Netflix lawThe genesis of cinema and the laws of 1889; Walter Benjamin and copyright; Film censorship: original connotations and regulatory aspects; The Review Commissions. Cinema in the face of the war emergency; The debut of film censorship in liberal Italy. The advent of sound and the law on compulsory programming; The offensive against foreigners. The “provisions in favor of national film production” and the “dubbing tax”; The autarchic turning point of 1938 and the racial laws; The censorship of Soviet cinema and the introduction of a new regulatory case: the incitement "to hatred between the various social classes"; The protection of the "decency" and "prestige of the Nation": gangster movies and "school and incentive to crime" films; The defense of the moral order: the censorial role of the "mother of the family", the Church against "impure" cinema and the "tolerant" censorship of the fascist regime; The fascistization of the Review Commissions and war propaganda films; The dissolution of the fascist state. The Psychological Warfare Branch and purges in cinema; Crisis and rebirth of Italian cinema. The New Order of the Film Industry; The debate on cinema in the Constituent Assembly; Freedom of cinematic expression and the constitutional limit of morality; Cinema and the freedom of art in the Italian Constitution; Freedom of cinematic expression and constitutional protection of privacy; The restoration of mandatory programming and the unresolved issue of preventive control over scripts. The censorship offensive against French cinema; Censorship and neorealism; The repression of political cinema; Cinema and public order; Censorship of pacifist films; The removal of the anti-fascist resistance in post-war Italian cinema; The Andreotti laws; Beyond morality: the protean face of political censorship. The defense of the prestige of the institutions, the maintenance of good international relations, the protection of state security; The repressive action of the Scelba government against "dissolute" films; The Bolognini case and the censorship of Swedish cinema; “The obstructionism of the majority” and the failure to implement the Constitution; The new “provisions on cinematography” of 1956; The censorship of posters and the techniques of taming dubbing; Film censorship in the 1960s. Between review and criminal action; Political censorship and state secrecy; The 1962 Law on the “Review of Films and Plays”; Jurisprudential profiles of cinematographic art: art, non-art, obscene art; A new figure of film critic: the judge; The new composition of the review commissions and the issue of films "forbidden to minors"; The establishment of cross-examination before the review commissions: between sequences to be "cut" and scenes to be "lightened"; The arbitrary use of the notion of morality and the tightening of the repressive power of the Commissions. The Ferreri case; Censorship of “perverted” cinema; The judiciary against the "obscene" cinema of the Sixties; The right to be forgotten at the cinema: the Landru case; The first “Cinema law”; Contempt of religion and cinematographic freedom. The Pasolini case; Rai and Cinema in the Seventies. The reform of the regulation of the radio and television system and the new regional competences in the cinematographic field; The Pasolini and Bertolucci cases; The reform of the radio and television system in the 1980s and the establishment of the Single Entertainment Fund; The judicial offensive against erotic cinema; Cinema and religion in the eighties. The privatization processes of the nineties and the new architecture of the Italian cinema system; From the 1990 antitrust legislation to the Gasparri law; Cinematographic "sadism" and new forms of censorship of political films; Cinematographic federalism and revision of Title V of the Constitution; The second “law Cinema”; Cinema and blasphemy on the threshold of the 21st century; From the “second” to the “third Cinema law”; Cinema and the protection of minors in the 2000s: between Nudge Theory and renewed censorial instincts; Censorship and the market; Genesis and development of copyright; Intellectual works: regulatory discipline and constitutional profiles; Cinematographic work and copyright; Film production and distribution; The moral right of the author and the creation of the work; The copyright of the author and the obligation to register the cinematographic work; EU legislation on cinema; the window system and the anti-Netflix law. |