TEACHING NOTES Digital platform dedicated to education for European cinema 2 INTRODUCTION

CINED: A FILM COLLECTION SUMMARY FOR CINEMA EDUCATION. (2142 S.)

CinEd’s mission is to propagate the seventh art as a cultural entity and an aid to understanding the world. For this purpose, it has INTRODUCTION developed a common teaching method based on a collection of films produced by the European countries that are partners in the project. The approach adapts to our present day world, with its rapid and increasingly great changes in the way that images I - INTRODUCTION - I • CinEd: a collection of films for cinema education seen on a vast range of screens are seen, received, spread and produced: from giant cinema screens to tiny smartphones, and of • Editorial about the film – technical information and poster course televisions, computers and tablets. The cinema is relatively new art, and although its death has been predicted more than • Plot summary and aspects once, it is obvious that it is very much alive. These changes impact on the cinema, and its diffusion must take particular account of the increasingly fragmented ways in THE FILM which a variety of screens are used for viewing. CinEd publications offer and support a sensitive and inductive teaching method, which is both interactive and intuitive, and provides information, analytical tools and offers the possibility of a dialogue between • Context - The changes of Italian society at the beginning the images and the films. The films are analysed on different levels and in their entirety, as well as in sections and looking at of the 60’s. different aspects: frames, shots, and sequences. • The Author The teaching materials (booklets) enable a free and flexible approach to the films. One major challenge is to enter into contact • Olmi’s cinema with the cinema image on different levels: description is the essential basis for any kind of analytical approach, the ability to • Filmography extract and select the images to classify and compare – both from the film in question and from other, involving all the represen- • Filations tational and narrative arts (photography, literature, painting, theatre, comics ...). The aim is for the images not to escape, but for • Testimony : Olmi talk’s about the olmi’s cinema them to have a meaning. In this way, the cinema is a particularly synthesizing valuable art for building and consolidating young people’s views. ANALYSIS

• Sequential Dècoupage • Film Matters • Analysis… of a sequence: The March towards the place • Analysis… of a shot: Approaching the couple • Analysis… of a frame: The subordination of the job-seeker The author CORRESPONDENCES Vincenzo Ardito, with marketing and communication studies, graduated from • Images-echoes the Academy of Cinema for Youth of Enziteto (Bari), is a director, filmmaker • Dialogues between Cined Collection and educator, among many collaborations including Save the Children , • Comparison with the arts : urban landscapes Ministry of Education, Authority Commissioner for children and adolescents, • How the film was received: the views of two critics the Department for development and economic cohesion and Confcommercio • Teaching activities Italy.

Thanks to

Arnaud Hée, Nathalie Bourgeois, Maria Cascella, Ruggiero Cristallo, Accademia del Cinema Ragazzi, Claudia Lorè e Nicolò Ceci 3

Olmi’s hand through his seemingly objective film style but social and urban, from provincial to the big city with the diffi- I - INTRODUCTION IL POSTO full of an iconic research of considerable thickness. cult comparison between very different places. Olmi follows a young man, Domenico, from the peaceful The expressionist use of dialect, the non-professional actors, IL POSTO is an example, typically Italian, of a duality between cine- countryside to the frenetic big city, where the economic the sense of the grotesque and the excellent collocation of ma and movies as well as exists between literature and the book and miracleis bringing far-reaching social changes. the characters in the urban environment make IL POSTO painting and portrayed. Olmi’scalmly penetrating camera observes and explores an “excellence“ of the Italian cinema, a product of the best The movie "Il Posto" is fully embedded in a semiotic perspective of the world of adolescents, contrasting Domenico’s patho- school: based on tradition, but at the same time able to trans- respect because the concrete units of speech are fully satisfied. The logical shyness with the dynamism of Antoinette-Magalì; cendnational borders and time frames. semantic axis of the film narration is pertinent to the Italian style he examines the offices and endless corridors without It is a wide-ranging narrative film that marks the times accor- of the time and still fully valid today. The filmic meaning of iconic condemning the pyramid-like company hierarchy. ding to the time rhythms and shows a film developing reality narration is clear and perceptible in an educational perspective that IL POSTO is one of the first Italian freefilms and tells a sto- that lends itself to an understandable language interpreta- seeks the orientation of the cinematic gaze. The profound unity of ry of people caught between tradition and modernity. IL tion thanks to the linear cinematographic style of Olmi. The the film is authentic and supported by the unfolding of events that POSTO is clearly the “job” that Domenicoobtains in a big cinematic representation of history has high and low points, demonstrate the veracity of every sequence. In the movie "Il Posto" company, and Olmi depicts the grotesque andmelancholy but for the duration of the story events, thanks realist imprint the cinematographic fact exists and is manifested in high language job application process. of the director keeps his gaze without delay. levels as well as the film language requires. And being consistent The film has the extraordinary characteristic and unique- The protagonist is featured with very realistic mode that the cinematographic fact the communicative function is broken ness, to own and anticipate modern references beginning shows off the character and shows the human characteristics down into different elements that the director articulated in cine- of this millennium, linked to current Italian and European he possesses and that the cinematographic means exalts wit- matic discourse. situation regarding the search for a job by the younger hout major effects. The movie "Il Posto", already contains many elements typical of the generations. The specific film portrays, in a clear and deci- cinema of Olmi that would make him famous first in Italy and then in sive, the personal and professional ambitions of the young CREDITS the world: his preference for rural and suburban settings, the praise protagonist. The expressive line chosen from Olmi to out- Original title Il Posto of simplicity, the individual’s difficult impact with society, young line the subjective growth of the protagonist is authentic Produced in Italy love. These fundamental elements of daily life are described by the visual research suggested by the precise knowledge of the Released (Italy) 1961 Running time 93 min Colour b/w Audio sound Genre drama Directed and Written by Ermanno Olmi Screenplay Ermanno Olmi Produced by Alberto Soffientini Production company Titanus, The 24 Horses Distributed by (Italy) Titanus Cinematography Lamberto Caimi Edited by Carla Colombo Music Pier Emilio Bassi Scenographer Ettore Lombardi Actors and characters • Loredana Detto: Antonietta Masetti • Sandro Panseri: Domenico Cantoni • : psychologist • Mara Revel: canteen lady Awards • Critics’awardat the Venice International Film Festival CZECH POSTER GERMAN POSTERS • David di Donatello 1962: BestDirector • Seminci1962: Espiga de oro <---ITALIAN POSTER 4 I - INTRODUZIONE

SOCIAL CHANGE JOB ALIENATION I - INTRODUCTION - I

THE COUPLE WOMEN

GEOMETRY ARCHITECTURE 5 I - INTRODUCTION SOCIAL CHANGE SYNOPSIS

The film is set in 1961, the year it was released, and The film opens in Meda, near , during a winter showsthe economic boom that was bringing radical in the early 1960s. It is a special day for the Cantoni change sto Italian society. It deals with the experience family:father, mother and two children. Domenico, of moving from a rural and agricultural context to the the eldestson, is going to attenda job selection for industrialized cities, in this case Milan, and the search a big company in Milan. There is an economic boom for “il posto”(a job) in the new expanding factories. in Milan, ’s main city, with building work in In the case of Il POSTO, it's not industrial work but in an progress everywhere and heavy traffic. In the waiting office activity, which symbolized a new step of moder- room, job applicants with anonymous faces scrutinize nity after agricultural or industrial activities. ARCHITECTURE \ GEOMETRY each other with respect and fear. During the breaks between tests, the shy Domenico meets Antonietta, The architecture of the factory buildings and the way known as Magalì, who is applying for a job as secre- JOB ALIENATION theyare framedby the camera emphasizes their towe- tary. They have a coffee, chat togetherand get to know ring squareness, underlining the changes taking place each other a little among the crowd; after the tests, The long empty corridor, which is overlooked by so in this period of Italian history. they take a walk among the shop windows in the city many doors of many rooms full of people who work, centre and then say goodbye at the train station. Do- and Domenico tiny little into the other end of the cor- menico is successful at the job selection, which means ridor make us think of alienation at work result of the WOMEN thathe starts his adult life; he buys a new coat (the one economic boom. that Magalì liked), enters the company, walks inlong At the time of the film, many wanted to find Women emerge in this film as emancipated figures, es- corridors of offices, has an interview with the chief work in factories to improve their economic condi- pecially Magalì, Domenico’s mother, and the dynamic engineer and is hired as an office boy. tions, and many became completely absorbed and women at the New Year’s Eve party. It's contrary to the Domenico listens to the senior usher’s advice as he sit- alienated by their work. The film deals with this aspect traditionnal shema, a sign of the modernity sat lunch. He looks out for Magalì and waits for her in of society, and this is the main theme in Domenico’s vain at the end of the day. The next day, wearing his story. office boy's uniform, he meets Magalìby chance in the corridor; shehas been hired as a typist and invites him to celebrate New Year's Eve with her. THE COUPLE On the evening of 31stDecember, Domenico goes alone to the partyand waits for Magalì witha bottle of Domenico and Antonietta-Magalì are a very young spumante; meanwhile he meets an elderly couple, and couple, but are neither engaged nor married. In the accepts an invitation to dance, carried away for the film, they experience the first stage of their love affair, first time by the festive and unfamiliar atmosphere. as they fall tenderly and sweetly in love through looks ButMagalinever arrivesat the party. and clumsy gestures. Their affair does not become Back at the office, a crucial event happens: a fellow em- a real relationship because of Domenico’s shyness, ployee dies, so Domenico replaces himat the last desk and because the general context does not make it in the room, in the darkest corner. For him, the New possible for them to take the relationship to the next Year marks a beginningfull of questions and hopes. stage. 6 II - THE FILM II - THE FILM countryside ofPiemonte,countryside ahighpercentage absorbed the city ofimmigrants mand of manpower, along with the flux of workers coming from the depressed Turin was alsoprotagonist ofamigration phenomenon,becauseofthehigh de Sica andZavattini. 54%. Nowonder afamous1952filmiscalled inMilan”,“Miracle directed by De creased, between 1951and1961,from 545.000to 841.000units, that isto say representedMilan of the economic boom:employment thecapitalcity in Fiat crowded streets, travelled. theway Italian subverting Italians mobile was oneofthesymbolsthiseconomic boom,the “500” produced by Automobiles Factory, Turin'), automobiles factory. thebiggestItalian The auto Turin was thelocation ofFIAT (Fabbrica Automobili Italiana Torino, lit. 'Italian change, and mostly industrial Milan Turin. were massively exported. Two citieswere at thecentre ofthiscultural, socialand andcompetitive hadagoodquality oftheseindustries prices,ducts sothey the year of the reconstruction: metallurgical, mechanicaland chemical. The pro The were most dynamicsectors theonesthat received consistent helpduring to growstarted insize. soon beganto rise,factories whichvery andfrom to thecity thecountryside higher thanthedemand:peoplewentwhere new from to thepoorSouth North, England andFrance. This transformation was possiblebecausemanpower was on agriculture to anew European power, industrial gettingcloserto Germany, being anation based changedfromItaly productive fabric. economic, socialand changing ofItalian showed aradical nomic boom”, which “ecoso-called the waslandscape. It and theof the city population, the look Italy, thehabitsof the way oflivingin ment transformed developindustrial 1960 awildandfast At thebeginning of SOCIETY ATSOCIETY THE BEGINNING OF THE 60’S. CONTEXT: THE CHANGES OF ITALIAN ------out to southerners>>. for onethingthrough thereal estate listings, whichspecified:<

through an evolution that results into this image (frame 2) where, in front of the of the in front 2) where, this image (frame into results that an evolution through able he was he wanted, the coat wearing he’s his figure: admires he fiercely mirror hat. his first salary buy it thanks to to as a delivery man, and the uniform’s win Ma be able to won’t fierce elegant, adult, the other Domenico, double, This actually ready. heart or because he wasn’t destiny because of though, maybe galì’s most of all it wears the coat he would like to buy in order to impress Magalì, the Magalì, the impress to buy in order like to he would the coat most of all it wears he will never with. A coat timidly in love and secretly he was other aspiring worker least at and beautiful coat, so he will make do with a less expensive buy, to succeed the moment. for reaveals which now of the dummy, the idealization double is therefore Domenico’s went character gradually The the end of the movie. at the glass, itself through to be. It’s tall, beautiful, independent, without a mother that decides for him and him and decides for without a mother that independent, beautiful, tall, It’s be. to (37’ e 04”)(frame 1) e 04”)(frame (37’ FILM MATTERS - THE DOUBLE THE - MATTERS FILM name, ending up with the most recent Black Swan (2010) by Darren Aronofsky. Darren (2010) by Black Swan ending up with the most recent name, for the movie, throughout moments In in different the Double our case the theme of is shown which embodies everything like he would double is the dummy, when Domenico’s instance of Dr Jekyll and Mr Hide and movies like Partner (1968) by , inspired by of Dr Jekyll and Mr Bertolucci, Bernardo by Hide (1968) by like Partner inspired and movies Dostoyevsky; Ridley by K. by Blade Runner (1982) Philip Scott, a novel Dick and Double, The King same the with Stephen by work the on based Cronenberg David by (1983) Dead Zone The make impossible any recognition and discernment of the self; and discernment recognition an actualmake impossible any of personality splitting movies many are There everyone. and corporeality; hidden from life with a double superheroes a 1915 movie Reicher, case of BeckyThe Frank by starting from in which this theme is displayed, versions the countless to inner duality, on the protagonist’s Double the theme of focuses where The theme of double can manifest and express himself visually and narratively in different in different and narratively himself visually and express can manifest theme of double The or not; two consciously the same time, distinct, at the same person living two lives ways: that transformations physical pass off as a unique individual; real that people almost identical Domenico, accompanied by his mother in a clothing store, is surrounded by coats: his mother his mother coats: by is surrounded his mother in a clothing store, by accompanied Domenico, with 1). In (frame the middle of the shop stands out a dummy his work buy him one for to wants stylish and coat. the most expensive 16 III - ANALYSIS acting career intheatres.acting professional,came very thanksto theuseofprofessional their actors, whostarted majorswereAmerican where the dubbingstudiossoonenoughbe dubbedinItaly bing washere, born becauseofcultural andpoliticalfactors. All movies coming from As for Italy, astrictly “camera-centred” country, theyhadto wait until the70’s. Dub The “sound synch” was adopted by the Anglo-Saxon countries since the beginning. freshness to aninvention andvitality that already had35years. techniques , that is to say recorded on the set, directly have brought a totally new in anexaggerated racial stereotype. From 1930onwards, thelive soundrecording orchestra records for Juan,thefirstwords Don told by Al Jolson, althoughbeingsaid fitted theslapstickofthat moment, the aragtime that perfectly from hisfirstcrying: our dailylife can’t leave soundsoutofconsideration sodoesthecinema, starting the creation ofaconvincing representation ofthereality that we day. live every As both imagesandsounds, noises, melodiesandrhythm. contributes Everything to The bigscreen gives backanalive andvibrating synestheticexperience, through staircaseup themarble ofthecompany building. the changing city, thenoiseofjobcandidates’ shoesastheymarch likesoldiers and reconstruction ofsounds, post-synchronised inastudio,indeedthesoundsof Posto”“Il of movies inwhichtheaudioischaracterized by isoneofthat dubbing kind THE SOUND - - vernment established a tax on dubbing, that forced producersAmerican to suspend ending really dubbing started, soon when the fascist go the goldenage of Italian So meaning whenassociated withDomenico’s vacant gaze into thedistance. dramaticrepetitive timeandhasavery itmarks noiseoftheprinter; andirritating desk intheaccounts office. withthesharp,The camera frames his face in aclose-up For example, inthefinalscene Domenico hasjusttakenhis “place” last at thevery the film. the viewer and creating empathy andemotionalinvolvement in withthecharacters for and the is narrativeas fundamentally important as the photography in capturing a strength. The film’s andoftheworkplace, soundtrack isjustthesoundsofcity The ofthefilm,butisactually diegeticsoundtrack lackofanextra isnotaweakness in trueneorealist style. IL POSTO hasnomusicalsoundtrack at all, soundsandtheactors’ onlycity dialogues, thedubbingphase.then thinkaboutsoundsduring neorealist pronounce directors madetheiractors random numbersandphrases, and ofthemovie, andproduction for ofstory because itinfluenced thetype example editingbecomes inothercountries acommon that practice wasin Italy unthinkable from the 31 December 1938. After the end of starting film importing World War II, - III - ANALYSIS 17 frame 3 frame frame 2 frame - - THE CHANGING OF SOCIETY OF CHANGING THE ped by a pedestrian. ped by is old man that an It’s takingfor out dog his who is surprised a walk that boys these all by make an going to are The a job. for exam between conversation dialect, the strangeness highlights them, spoken in Lombard and habits. and the change of costumes event of that that. and also a Milan realises is changing world citizen The Society is changing, habits, costumes. The march now is going from the inside to the outside of of the outside the inside to is going from now march The costumes. habits, Society is changing, all they are the building, following still marching The the same rhythm. is explained changing parallelism the through genera due between is stop Domenico tions, The aspiring workers walk through the corridor, some are looking down, they hall have the the looking hall have are they some down, the corridor, through walk aspiring workers The It almost looks like an army the floor. sound of the heels on the by highlighted same rhythm same level. all on the enemy, a common towards marching frame 1 frame 3

ANALYSIS OF A SEQUENCE SEQUENCE A OF ANALYSIS THE MARCH TOWARDS THE THE PLACE THE TOWARDS MARCH THE DEPTH OF SPACES OF DEPTH THE CONTEXT of the flux of people that is approaching to highlight the depth of the corridor, that is to say the the say is to that depth of the corridor, the highlight to is approaching of the flux of people that the smallness of the individuals. as opposed to of the company greatness of view of this moment. point a dramatic linear depth of the shot gives The The sequence opens with an empty and long corridor on which all the offices doors exposes. exposes. empty doors an with opens offices the corridorall long sequence which and on The position in front in a waiting the one of entrance, end from the opposite at is placed room The march, where the workers look like toy soldiers following a general that leads them to their their to leads them that a general following soldiers look like toy the workers where march, part and take emancipate to in a in order about, dreamt the job they always possible future: society up duringconsumerist those years. is starting that grow to spaces of a big company. spaces the first meeting to of passage of the new workmen is the the room One of these scenes from It real a like looks place. take will writing a exam where company, the of building central the place, the estrangement from the family are only a few of the themes dealt with in the movie. only a few the family are from the estrangement place, will that situations and scenarios about tells movie, the of beginning the since director, The describe new working the that away goes peculiar sequences some that class through repeat, new chaos of the citybig and the completely deal with the to the countryside and have from The economic “boom”, people moving from the countryside to the city, the search for a job a job for the search the countryside the city, to from people moving “boom”, economic The 14:07) to 12:17 (from 18 III - ANALYSIS a glimpseofthem amongsttheupperbalcony’s columns. We canarrogantly hearthe infuses afeeling ofestrangement. We can’t anymore, seethesubjects butwe canget The positionofthecamera amplifiesthegreatness ofthebuilding’s architecture that through. The longstaircase location andthedimlight theyare highlight theunknown cutting the smallprovincial station, but we onlyseebig andbeautifulbuildings. that go to work or anymore, cart the countryside withtheir horse-pulled the farmers The vastness ofspaces, thesize ofthebuildingsreaffirms thechange. We can’t see GREAT SPACES, GREAT ARCHITECTURE frame 5 frame 4 frame 6 contrasting withthe vastness oftheroom andofthecompany. rative sequence. The shotfrom above emphasizes thesmallnessof woman, furniture. The director focuses onher, creatingpauseinthenar atemporary youngThe jobcandidate mother ofthevery isaloneinabrightroom fullof to anidentification that with theconsumer was growing society thoseyears. during workers that is goingto emancipation face and that willleadthemtwork, the trials This representation seemto andthefear highlight theanxiety ofthearmy ofaspiring to passby. silhouettes ofthepeopleare seeninalongshotasthefixed camera waits for them and a single raycompletely of sunlight dark, filters in through a window. Only the The jobcandidates’march isalmostover; thelastroom before theexam room is countryside, peopleare moving into thegrandeur ofostentatious architecture. city from of the the simplicity gas a way place to in society; show the changes taking The director choosesto emphasize thelarge openspaces inthecompany buildin sound ofsteps. THE DREAM OF A MOTHER frame 7 frame 9 frame 10 frame 8 - - III - ANALYSIS 19 ------Domenico’s subordination is clear and evident; this this evident; is clear and subordination Domenico’s under to directorintends the that shows frame single characters; the two between he line the differences with the positions of the actors andscenogra achieves performances also fundamen are but the actors’ phy, tally important. looks at Domenico;he looks at never Engineer The hisdeskandbookon the when drinking even hiscof clearly indicates This on thecup. he concentrates fee, the on superioritytohis Domenico, person. other the speak audiblywhen manages to he hardly other hand, expression his and questions, theEngineer’s answers of behaviour The afraid. and he is worried that shows again underlines characters the social the two once and the new the new balances changes taking place, in a capitalist industrial society. of power relations This point of view emphasizes the oppresione suffered suffered the oppresione emphasizes of view point This take us to Dominic willingness the director's and by of subverting another dimension to sche the classical mes of recovery. the manager officewith is in the Engineer's Domenico is frame This knowand is about to if he has a job or not. positions explain because the actors’ very interesting the film. in their moods and roles appears and frame, the of centre the at is Domenico is smaller than the Engineer;the engineer although this From in the frame. he has weight in profile, shown than the Engi is lower seat Domenico’s viewpoint, actions are and body language characters’ The neer’s. talkingWhile Dome to in this frame. very expressive job drinks a coffee,underliningthat the Engineer nico, partinterviews are and showinghis routine of his daily only the Engi because Domenico superioritytowards and is intimidated Domenico neer is drinking coffee. he looks at the way shy; by his mood is emphasized the Engineer. - - - - Frame at 48’.05” at Frame The point of view of view point The Domenico has been hired and has successful has been hired Domenico technical manager. After exchanging a few remarks remarks few a exchanging After manager. technical before drinks the manager a coffee with Domenico, him. to has been assigned the job that the boy telling of the job-seeker subordination The the of because surreal almost an returns camera the of there prospects of distortedthe frame, inside spaces is but there of the scene, a linear representation isn’t precisely which emphasizes of view, point a different aspirant. this subordination Context. meeting After of interviews. the first round ly passed candi successful with the other Magalìin the room the com to worker an office he has followed dates, a secretary headquarter Here accompa pany building. company’s the the Engineer, of the office nies him to - mirror and touching her eyebrows, she is symbolically she is symbolically her eyebrows, and touching mirror another world. into projected The camera is behind the woman, and much of the the of much and woman, the behind is camera The the this, but despite mirror, the is taken up by frame herself in the Looking stands out. at face woman's permit to all the family to emancipate and become a a and become emancipate the family to all permit to part capitalist society. new growing of the underline this aspect 10), a close-up (frame is used, To emotional than descriptive. more so a frame While she looks at herself in the mirror, we can ima can we mirror, herself in the at she looks While projectionher her on mother, a of thoughts the gin intercession, an to thanks maybe who, son youngest will that job A job. longed so the have to manage will FRAME ANALYSIS FRAME 20 III - ANALYSIS SHOT ANALYSIS

3 1 (from 26’31” to 27’10) relationship. film, sothat the couple are prevented from having adeeper This isasituation that willberepeated several timeinthe story, interrupted by apasserby whoreproaches Domenico. suggesting that thisisjustthebeginning ofabeautifullove complicity. This moment takestheminto anotherdimension, focuses onthecouple holdinghandsandtheirsmilesof the company. Their run is recounted shot that in a tracking to cross thestreet, hetakesherhandandtheyrunbackto the relationship Hehelpsher between Domenico andMagalì. inafew shotsthedirector showsthe emotionalpoint ofview; of a love.The birth another environment, anothertime, usingadifferent style. there's love, onlyanillusionofnewborn linkedto strictly director wants to show anothermovie, thespectator where the field, whentheycome seemslikethe backinthestreet. It sion, their love, theirrun are interrupted assoon as theyleave This lastlong. feeling doesn't Their stay inanotherdimen smiles makeusthinkofahappy couple oflovers. paintings, runninghandinandtheir thetwo characters The frames ofthisshotseemto besomereally evocative be inanothermovie, anexpressionist movie from the20's. surroundedonly Domenico andMagalì by nature, itseemsto the tweeting ofbirds. We seecranes, trams don't andcars, but noying sites are soundsoftheconstruction now replaced by ther dimension. The noisesofthecity, thetraffic, thean Another dimension. thatlizes ischanging. acity running through thetraffic; allthework inprogress symbo the metro. They realize theyare goingto belate, sotheystart the dairy, have acoffee andstop to lookat thebuildingsite of Context APPROACHINGCOUPLE THE . During the lunch break During go to Domenico and Magalì sequence from important This is a very In thisshotweIn seemto finishinto ano - - - - 4 2 21 IV - CORRESPONDENCES sono rinchiusi in dei freddi e squadrati box. e squadrati sono rinchiusi in dei freddi una visione grottesca emerge In questi due fotogrammi del . Nel fotogramma del mondo del lavoro e ironica nella puliza del è intento uno degli impiegati posto della scrivania, e in questa pulizia tutti i suo cassetto accortoccia e li lancia per farli li cadere che trova fogli cartadi pallina ma la sistematicamente cestino, nel di oberato del collega sulla scrivania finisce Charli Cheplin c’è fotogramma Nell’altro lavoro. crea il suo fare con Moderni, dove Tempi nel suo della fabbrica. di montaggio nella catena scompiglio Il lavoro raccontato attraverso le immagini è è le immagini attraverso raccontato Il lavoro nel fotogramma confronto, di questo al centro della stanza dove la totalià de Il vediamo posto scrivanie le con lavoro il svolgono gli impiegati esasperata più visione Una perfettamenteallineate. nel la vediamo delle linearità conformità e della nella Tatì, di Jacque film Playtime di fotogramma gli impiegati dove sua visione futurista di un ufficio, IV - CORRESPONDENCES IV PLATYME – JACQUE TATÌ, 1967 TATÌ, – JACQUE PLATYME TEMPI MODERNI, CHARLIE CHAPLIN, 1936 CHAPLIN, CHARLIE TEMPI MODERNI,

IMAGES AND ECHOES/COMPARISON IMAGES CINEMA AT WORK WORK CINEMA AT IL POSTO, ERMANNO OLMI,1961 ERMANNO IL POSTO, IL POSTO, ERMANNO 1961 OLMI ERMANNO IL POSTO, 22 IV - CORRESPONDENCES Posto Il 1961 – nity. spaghetti in theirpockets as they almost wanted to stock themup for eter to eat hungrily,on thetableandstart whiletheydance, hiding bunchesof spaghetti. foodof tasty andalotofsmoking-hot Totò jump andhisfriends to set the table,door of offeringthe two families and starts an endless series and sagacity, with an unforgettable Totò. at the knocks this film a servant In in enobiltà”,“Miseria afilmthat talksaboutthethemeofhunger, withirony themythical scene ofthespaghettieaten withhands filmhistory: in Italian oppositionto thisshotIwantedIn to show oneofthemostfamousscenes discloses.where ofourcharacters thesensitivity understand how itwent. It’s moments inthemovie, oneofthefirstimportant father, by hiswife, supported to tries have alltheinformation abouthisday to In Posto”,“Il for example, thescene thejobinterview, during after Domenico’s ments throughout the movie. littleto eatmo orwhere very was often peopleusedto spendimportant neorealism, in which the table was the centre of house life and where there ciety. cinema Italian In table”“the hasbeenavehicle to of tell stories typical been usedasanarrative source to create stories andtell aboutaslice ofso table”,“The where you sit, where you takedecisions... eat, hasalways talk, “THE TABLE”, SOURCE OF STORIES

Miseria eNobiltà– 1954 Miseria - - - edge. warm light isentering, whoseweave recalls abeehive, giving thescene adramatic of therural villagehouse;in delacolmena”,“El espìritu awindow, through whicha all theitems ondisplay, in Posto”,“Il thesocialandeconomic underlining context expressions inamodesthouse, andwhat we akitchen with seebehindtheir back: that littleonwhat itfocuses there isonthetable, very butenhances theactors Also thecomposition oftheframing issimilar. It’s interesting very to notice each otherandsmiling. is isolated inhisown world while thegirls at thetablecommunicate at by looking In delacolmena”“El espiritu we have thesamefeeling. The father looksdown, he she doesnot. Sheleaves thetask to her husband. the dialoguebetween Domenico andhisfather. Shewould liketo but participate, Here we canfeel alackofcommunication, themotherin posto”“Il isisolated from wait reflection, andsilencea senseofdiscomfort, at thesametime. plot andsetting, both protagonists seems to be communicating usthesamething: compare, posto”“Il and delaColmena”,“El espìritu different two very movies for communicate insidetheworld that rotates around thetable. opinion, sometimeswe don’t even needword, bodylanguageisenoughto Around from eating, thetable, apart exchange we speak, views, express one’s some scenes that takeplace around a table, indifferent years, situations andstyles. COMMUNICATIONAROUND THE TABLE CONTEXT CONNECTIONS WITH THE MOVIE OF CINED COLLECTION In the Cined collection there theCined collection areIn many movies that have incommon

In thesetwo shotsthat IdecidedtoIn 23 IV - CORRESPONDENCES

COMPARISON WITH OTHER ARTS OTHER WITH COMPARISON IL POSTO ( ERMANNO OLMI – 1961) O SANGUE ( PEDRO COSTA- 1989) the lack of color in the film reality. in the film reality. color the lack of of memory is a synonym and style white black and also of elegance but The or retro obscure more are shadows and white black the expressionist either because echoes, story makes the always reality from because the detachment or the spectator, for convincing. - - EN CONSTRUCTION EN

IL POSTO, OLMI 1961 OLMI POSTO, IL THE CHOICE OF BLACK AND WHITE AND BLACK OF CHOICE THE TRANSFORMING CITIES TRANSFORMING and white in contemporary movies can be seen as a useless and boring technique boring can be seen as a useless and in contemporary technique movies and white use it nowa choose to that the directors on the contrary, but, the youngsters from compensate to in order use his imagination suggest the spectator to seems to days “Il posto” and “O sangue” are both filmed in black and white. It was a choice in both It in both choice a was both filmed in black and white. are sangue” “O and “Il posto” made in the USA in 1935, while the first Italian were movies first color The cases. use of black The Steno. by directed a colori”, “Totò filmed in 1952, was movie colour Other that the representation of communication and the conflict the table I de at of communication Other representation the that because in the shots chose sangue”, “O and “Il Posto” shots of two compare cide to the same movie. belong to seem to they even change in first person: an old mariner, the workers, a Moroccan immigrant that mixes mixes that immigrant Moroccan a workers, the mariner, old an person: first in change find cannot that couple a young details, poetryfor eye with a good philosophy and of the as testimonies and guys rubbish, cats shovels, backs, faces, in the city, its place will turn that the neighbourhood upside down. transformation During lunch break, Domenico and Magalì look astonished at the workmen, the During the workmen, lunch break, and Magalì at Domenico look astonished the of them. In is taking that the same in front place and the huge transformation cranes of the ones living the the eyes the story from is viewed “En construccion” in way themes analysed in “Il posto”. The transformation of Milan in 1961, the change of of Milanchange of in 1961, the transformation The “Il posto”. in themes analysed and the constructors make the city the Barrio the cranes similar to the landscape, building is being constructedto residential a giant where Chino of 2000 in Barcelona “En construccion”- in told like the stories will be destroyed, old houses that replace The change of society and transformation of the city are two of the most important of the most important two city of the are change of societyThe and transformation 24 IV - CORRESPONDENCES through definedby metaphysic astyle features essentiality. andageometrical of a need to go back to order,of the main supporters need that he expressed Sironi, to manifesto, adhering thefuturist Mario after thewar becameone after through. The two stories express inthesameway thechangesthat thecitiesare going can becompared to by theonedescribed Olmi,even thoughindifferent periods. Sironi tells landscapeofacity, aboutaSuburban that ischanging andthat Milan, produces asenseofdisorientation andsolitude. that ontheothersideadimensionofdarkness constructive energy; rwhelming constantly expanding: on one side a dimension of power that creates an ove Sironi’s work expresses context thedoubletension aurban that characterises lopment, brightandacidcolours at thesametime, shadows. dark walls, dullgreyDeserted degraded skies, anddegrading signs deve ofindustrial MODERN ART “PAESAGGIO URBANO” DI MARIO SIRONI 1940 - - 25 IV - CORRESPONDENCES ALBERTO BIASI - ORIZZONTALE E OLTRE - 1973 - OLTRE E ORIZZONTALE - BIASI ALBERTO Biasi has participated as the lead in a number of artistic experimentation initiatives, especially in the sixties. In particular, his name is linked to the maximum maximum the his name is linked to Biasi has participated especially in the sixties. In as the lead in a number of artistic particular, initiatives, experimentation surfaces His have optical-kinetic change generally that paintings illusions. its artistic optical thanks to art built on the basis of precise creations season popularity, the angle of view. depending on appearance Lines that intertwine and lines that proceed parallel, comparing archittetoniche lines of the stairway of the modern building of "Il posto" with the lines of this work lines of the stairway with the lines of this work modern of the building of "Il archittetoniche comparing posto" intertwine parallel, Lines that proceed and lines that these lines. transforms a deeper dimension that go into the first wiev, go beyond to the viewer can influence OPTICAL ARTOPTICAL 26 IV - CORRESPONDENCES LITERATURE from the hourly wage of the contract, the cost-of-living allowance, the the increase.” allowance, price bread apart cost-of-living the life, the in and contract, trea something allowance the for of hidden family of wage hopes full still hourly and be sur the that could from generous world there middle that becoming the miserable and in and sures, right suddenly grey up was the him was that it growing felt rounded better: were that Marcovaldo looked sub and city! the round shoes of mushrooms, his real showed lace to and seemed bowed mushrooms, opened there He that stump, bodies. there, the and on followed terranean here that spots, soil lumps, of some near in some stripe be unusual to boulevard: encrusted the and in something Sbav trees sterile the noticed the the to he in him stop, taken drudge, tram to have the used to would he that where tram the for company, waiting day, one “So MARCOVALDO – LE OVVERO STAGIONI IN CITTA’ – ITALO CALVINO 1963 _EINAUDI lienating place. isanonymous; itisthefactory, meaninganyfactory factory, ananonymous, impersonal, anda Calvino usesthesamemethodto theplace describe where works, hischaracter sothat the intheyearshe wants city ofItaly’s industrial to generic describea economic boom. or that couldcity beeitherMilan Turin; Calvino chooses notto specify the city’s name, because ofthe1960s. orthecountryside, city whoisexiledsuburbs inanindustrial The novel issetina The central ofthenovel character isa Chaplin,amanfrom“pure Charlie the character”like The literature proposed Calvino’s connection here iswithItalo novel Marcovaldo. - - - - 27 IV - CORRESPONDENCES 28 IV - CORRESPONDENCES The third narrative istheencounter section between Domenico andAntonietta. It pathetic, pessimisticoralmostunlikelyto openany concrete andpositive glimmer. are ledtoisaconception depression. ofwork It life that canonlybedefinedas ofinthefirstplace andfrom that theyare whichtheyspecimen ofasociety part ofsocialpoemit’s thiskind In theemployees that are always wrong. They are the man to become half a man, limited and breathless, when he’s not hateful and mean. for economic givesSo stability, Olmi,ajobinbigcity acertain butcondemns dramas, theirmanias, causedby thelimitsimposedto theirexistence. workers, at all)andalltheirsmallorbigfamily withtheirhabits (notentertaining for minutely hedescribes allemployees thedirector: important andthat was very The second narrative istheonereferring section to thework environment and beats thetime, symbolisingthemechanismthatforever. willkeephimprisoner in front ofhim,withhiseyes bare open,serious, whilethemimeograph machine see what Imean>>.And indeedDomenico understands, whenhehashisjob, looks While he follows hisadolescent, Olmiseemsto betelling him:<< Your job! You’ll the mostsuitableto show joy andhumandignity. meet someonewhohasadifferent opinion andifthat world doesn’t seemoneof his parents andcolleagues), it’s notlikethat indeediffrom thefirstmoment we can work can seemthemostdesirable (asviewed from theoutsideandfrom Domenico, themecanbeexpressedThe next likethis:asmuchtheconquer ofaguaranteed heobtains thejob, at firstasaofficesociety; boy andthenasanemployee. boyDomenico: afarm to that goestotakeanexam for Milan employee jobinabig First –fundamental andimmediately clear–istheonereferring of to thestory We candivideitinto three narrative sections. prevent from andpleasantness. beingmisledfrom itslinearity It’s carefully, aneasyandenjoyable butitneedsto beexamined work, very to vivacity. of thepublicto theeveryday life andstylistic inthemovie pictured withsimplicity to thepublic),butalsobecauseofparticipation asmuchitisunknown juries (author ofIL TEMPO SIE’ FERMATO, covered inprices by mostoftheinternational (), orto theclever andlegitimate about Olmi’s publicity name received in Venice (O.C.I.C.; Critic’s Price, Coppa 1961)andinLondon Città di Imola success that it’s theatres canbeattributed meetinginItalian notonlyto theprices public infront ofthe screen withouthaving to regret having bought theticket. The phantasmagoria ofthemasses, threatening stories are the uselessto entertain This isoneofthosemovies that confirm thewidespread opinionthat AN ITALIAN CRITIC THE VIEWS OF CRITICS TWO HOW THE FILM WAS RECEIVED Published onLetture, 1962 January Of thethree narrativeOf elements, thefirsttwo could beunited ifthere wasn’t too later; itdisappears,also arise apparently withoutany reason. with anautonomous tendency. The encounter withtheexams, arises butitcould that canbeeasilynoticed it’s that it appearsinthebeginning andthendisappears, the rare ofinvention beauty andtone. hasabittersweet Butthething It aftertaste. has itsweight inthemovie, maybe becauseit’s thanksto themostfascinating part, perfectly matches ofthewholemovie. thestyle (S.R.) perfectly and guidetheperformers. The acting, fresh andmodest, butalsosubtleandfitting, his previous movie, anditisaconfirm that was thedirector surprising canchoose We cannotforget acting. Olmiusedonlynon-professional actors. The result, asin 47 lightning; cinematography isaccurate; inthetruth. dialoguesfindtheir beauty photography andpost-production withoutany effectandwith “spontaneous” adaptation to figurative from are elements: aperfect supported The virtues soul. in Posto”“Il andlimitsare evident. virtues greater stories, broadeningofthemostcomplex levels knowledges ofreality and isprecluded styles from tellingcreative andparticular this lucky force. Otherwise more essential whenitbecomes minute thenotation andimprovisational the immediate andimprovisational inspiration thescreenplay during phase, itiseven thespontaneous andfresh ofIf notation pours–asitpourinOlmi-from asort way that cannotconfront withthelimitsimposedinamovie. (<>?) way, inorder to create acharacter, anatmosphere, astory. A Consequence ofthisnarrative istheneedto proceed inacertain singing, dancingandscreaming <>. interlaced; for thesequence playing, of theparty, allthosecharacter deserted thetwo adolescents,characterises therunthrough andtheirhands thepark of thesympathyand avalue thedescription to common that andpoorobjects: the smallestdetailsofexpressions; give ameaningto themostcommon gestures, tends to identify itselfto real time. All thisgives to register thepossibility even istheadoptionofacinematographicof languagewhosecharacteristic timethat in firstplace. This predominance andimposestherhythm determines thestyle Also inthisfilmthat takesplace world, inthemechanicalindustrial manisalways chant ofmanwas always present. documentaries,industrial withponderous pipes, concrete andiron mountains the to whichwewith precaution. were Apoetry usedfor itspresence intheprevious Talking aboutOlmi’s works, theterm “poetry” isnotintroduced by mistake, ifused only thingthat would have given arose thespectator instead ofscattered petals. because ofthethingshehadto say, sohedidn’t what bothertocould know bethe a misconception intheorigin ofthemovie. Maybe thedirector was too impulsive two cannotreach unity, itsurely won’t befound inallofthree. Maybe there was less <> andvice versa. theelements are So andremain three;only If second; the firstandthethird aswell if there wasn’t <> and andtoo much<>much <> inthe inthefirstpart 19 ego Raffaeli Sergio 29 IV - CORRESPONDENCES - - - zeri, a fledgling actor who bears a haunting resemblance to the late Gérard Philipe, Philipe, Gérard the late to a fledgling actor resemblance zeri, who bears a haunting beha natural much so got has he eyes, the around expression sad the in especially away comes one that moods and whims youngster's a of revelation much so vior, the picture with a sense of knowingfrom this boy. a thoroughly give to wife) be his (who happens to Detto he has got Loredana And girl. elusive suggestion of the pathetically entrancing perfect like to I'd are Others, mentioned, aren't whose names in other roles. even It's a gem. instance. for party, office that every at cite one who is present of the strength Olmi on about Mr. clamorous be too to of course, One hesitates, But it clearly reveals in its scope. limited this one film. It is modest in its intentions, see the poetry make a camera at to a picturemaker and hint who knows how in life thump monotonous The tell. to sad and depressing too and ironies longings vain symbol with which is the visual and aural machine on a mimeograph of the rotor the picture ends. Film York New the First at shown was film, "The Fiancés," feature Olmi's second (Mr. this fall.) It release is due for Festival. Cast The Tita Olmi; a Mr. TRUMPETS, Ermanno by Olmi; directed by scenario THE SOUND OF at Avenue Third II, Cinema At Janus Films. by distributed nus-24 Horses Production; Running time: 90 minutes. 12th Street. at Cinema, Avenue and the Fifth 60th Street, Detto . . . . . Loredana Antonietta Panzeri . . . . . Sandro Domenico monotony of the routine that quietly traps the white-collar the quietly traps that of the routine channels and worker monotony of old age. the oblivion into youth is clearly Olmi an artist be as seeing-eye with the to and he appears camera Mr. Pan Sandro act.people to Fron inexperienced de Sica in getting Vittorio skillful as - - - Screen: A Clerk in Italy: 'Sound of Trumpets' at Two Two at A Clerk in Italy:Screen: Trumpets' 'Sound of

AN FOREIGN CRITIC CRITIC FOREIGN AN of the petty existences of the clerks — we sense a piercing awareness of the terrible of the terrible awareness sense a piercing of the clerks — we of the petty existences people around them — contributes to the formation of an in tensely vivid impres tensely of an in the formation to them — contributes around people unfold. their lives and watching sion of being present of a parent reacting with the sympathy find ourselves this — as we feel as we And the sad exposures and to of the youngsters experiences the poignant or a friend to So trenchant is Mr. Olmi's camera and so sensitive and subtle is he in directing his directing and subtle is he in his and so sensitive Olmi's camera is Mr. So trenchant everythat thing we small and looks, the right attitudes him precisely actors give to of the indeed, — and, the girl and every of the boy every expression see, gesture, And yet, underneath the literal detail — underneath the hundreds and hundreds of of and hundreds detail — underneath the hundreds underneath the literal yet, And bits of documen taryjust-right and the people he meets— about this lad information his of youth, the of sion comprehen profound a intellectual focus into comes there of the girl. and a lesser comprehension and excitements fears anxieties, clerk. starting this lad happen to of the things that out recount literal it — a simple, That's the start. at and desirable seems so awesome that on the big industrial treadmill collar clerks. collar party office an at experiences his of documentation ing search a there's finally And and appears, who never the girl hopefully and sadly for waiting Eve, Year's on New of a the job to happens when he is promoted what showing scene then a terminal Then there's the subsequent business of going to the city a few days later to find find to later days the city business of going to a few the subsequent there's Then but in jobs again, learning both of them have seeing the girl that he did, out how starting observingand plants, boy errand an as in white-the of routines the different minations required of all applicants for a job — his getting up in the morning, his his a job — his getting up in the morning, for of all applicants required minations his taking the other applicants, the city his watching on a suburbangoing into train, walking his meeting a girl, himself fall ing in with her and finding the silly exams, love. sembled facts,truth. the the whole strange There's crisp and crucial episodes. a few us are Olmi shows Mr. All exa the competitive take to he goes the day on the lad of experience and crowded is in the unmistakable style of a documentary. It is brisk, realistic, pictorially sharp. unmistakableis in the It style pictorially is brisk,a documentary. of sharp. realistic, every is kept at viewer The is simply an observer opening shot. camera the The from looker-on,position of a in the vicarious made a moment participant never the in of as that line is consistently narrative the And involved. emotions of the people learned it exceedingly well. learned it exceedingly film about little profound ingenuous yet this remarkably complex, simple yet For a Milanese working-class who gets his first job in a big industrial plant ster young IT is obvious that Ermanno Olmi, the young director responsible for the new Italian the new Italian for responsible director Ermanno that Olmi, the young IT is obvious Ave the Fifth at which opened yesterday pets" ("Il Posto"), Trum film. "The Sound of II, has learned making and Cinema his craftnue Cinema by documentaries and has Theaters By BOSLEY CROWTHER, Published: October 23, 1963 – New York Times York By BOSLEY CROWTHER,Theaters October – New 23, 1963 Published: 30 IV - CORRESPONDENCES - - - - Analysis ofits composition, andappearance. *Work ontheframe usedfor thefilmposter - BEFORE SCREENING TEACHING ACTIVITIES the poster andthefilm’s title? genres? about thedrama? municate? What differences are there? What dotheycom What correlation exists between theimageon thefilmseemtoDoes refer to precise cinema What doesit tell and usaboutthecharacters Compare theposters ofthedifferent Nations, ------thedevelopment* Reconstructing ofthecharac thefeelingsDo expressed before screening re - * Even ifthework ontheposter hasbeendone about aboutreservations/criticisms notworry Do 1) CONSIDERATIONS: DISCUSSION process canbefollowed.A three-stage AFTER SCREENING Try to imagine adifferent ending. take place between thesetwo points? of thefilm? the film? her biography. his biography. ters andthestory. thefilmyou haveflect seen? Why are theyimportant? themandrelocateDescribe theminthefilm. ted inthefilm. ifthepupils’point by asking ideaswere reflec before screening, from this itispossibleto start ask questions. to listen tothe film; it is important them and to How would you definetheendingofthisfilm? What are stagesandchangesthat theprinciple What isthesituation at thebeginning andend How changeduring doDomenico andMagalì isMagalì? ofcharacter What kind Try to write isDomenico ofcharacter What kind Try to write moments inthefilm?Which are theimportant - - - 31 IV - CORRESPONDENCES ------Describe the entry and exit from the shot or Describe the entry the shot or from and exit the between taken place changes have What move camera and the do the set design How pate in the story?pate cribe its composition (the space and the posi and the (the space cribe its composition ele the dramatic explain tions of the people), it and ask what this scene derivingments from next comes about what in the film. says kinds others of all then look for the film, from start A variation: it. with associate to with the one or two produce and of an image, choice the film. to relate images to people with adults : put them toge see young these relationships the way ther and comment ana understand if we can we What set up. are these images ? lyze is a A sequence make up a scene. sembled to unit. dramatic independent relatively in the shot with other or with key sequences film: sequence? sequence? or the end of the shot and beginning partici camera) (or fixed of the camera ments Choose a scene and establish the context, des context, the establish and scene a Choose choose an image and “Images-Echoes” Start with can you Select the film where images throughout images on moving Work * and as cut of time and space A shot is the piece one section and compare “Analysis” the to Refer ------choose an image (or frame) from the film (or if the film (or if from choose an image (or frame) What possible let the pupils choose an image). is aspects and what of the film does it contain missing? wards the images. They can imagine many si many imagine can They images. the wards sections of the different derivingtuations from the booklet. AND SEQUENCES SEQUENCES AND * Work on fixed images on fixed Work * and Summary“Plot and Aspects” Start with means making activeThis to the pupils more 3) INTERACTION WITH THE IMAGES, SHOTS SHOTS IMAGES, THE WITH INTERACTION 3) How importantHow is the setting in this film? important is more that is a location than the There im have that of the locations elements are There Could there be a voice over ? Choose an emotional ? Choose an emotional over be a voice there Could felt? does the cityHow make its presence Are there mostly expressed by the dialogues ? the dialogues ? by expressed mostly there Are the and analyse sequences or three Chose two of a musical think about the absence do you What How are the feelings expressed in this film ? in this film ? expressed the feelings are How others? why? And Which? you? pressed soundtrack? soundtrack? and try with music and voice sequence compare to over. way the emotion is shown (silence, looks, rhythm, rhythm, looks, (silence, the emotion is shown way editing…) sional actors, and they were at their first experience, experience, their first at and they were sional actors, try and classify their acting identify to using precise movements). (diction,examples gestures, - - - - - * The setting - - and sounds Words * - 2) VERIFYING, DESCRIBING, ANALYSING ANALYSING DESCRIBING, VERIFYING, 2) not profes leading actors the two that are Considering - DIGITAL PLATFORM DEDICATED TO CinEd is a European cooperation program dedicated to education in European cinema. EDUCATION FOR EUROPEAN CINEMA CinEd is co-funded by the Creative Europe / MEDIA EU. The vision of the film through CinEd platform enables public screenings only in a cultural context, non-commercial.

Cined offers:

• A multilingual and free platform, available in 45 countries in Europe, for the organization of non-commercial public screenings

• A collection of European films for young people aged 6 to 19 years

• Teaching Tools to prepare and accompany the screenings: bro- chures about movies, educational resources for brokers / tea- chers, teaching cards for students, instructional videos for the comparative analysis of the Cined movie collection.