Tradition and Modernity. The Italian Corporate Cinema between Documentary and Tecnofilm (1950-1970) Walter Mattana

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Walter Mattana. Tradition and Modernity. The Italian Corporate Cinema between Documentary and Tecnofilm (1950-1970). Cahiers d’histoire du Cnam, Cnam, 2019, Le cinématographe pour l’industrie et dans les entreprises (1890-1990), 12 (12), pp103-132. ￿hal-03040295￿

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Tradition and Modernity Italian Corporate Cinema between Documentary and Tecnofilm (1950-1970)

Walter Mattana Design Department, Politecnico di Milano

La période entre les années 1950 et les The period between the Fifties and the Abstract années 1970 représente l’âge d’or du cinéma Seventies represented the golden age of Italian industriel italien, qui, sous l’impulsion de la industrial cinema, which, under the impetus reconstruction d’après-guerre et du boom of post-war reconstruction and the economic

Résumé économique, a commencé une vaste production boom, began a vast production of technical de films techniques et des documentaires films and corporate documentaries. This d’entreprise. Cet article vise 1) à offrir une article aims 1) to offer an overall description description globale du cinéma d’entreprise of Italian corporate cinema through the italien à travers l’analyse de ses principaux analysis of its main models of production and modèles de production et de distribution ; 2) distribution; 2) to propose a deepening of the proposer un approfondissement du débat theoretical critical debate about the concept critique et théorique sur le concept de of tecnofilm through a textual analysis of films “tecnofilm” à travers une analyse textuelle by three different companies: Edisonvolta, des films de trois sociétés différentes : Olivetti, Fiat. Edisonvolta, Olivetti, et Fiat. Keywords: industrial cinema; corporate Mots-clés : cinéma industriel ; film films; tecnofilm; Olivetti; Cinefiat. d’entreprise ; tecnofilm ; Olivetti ; Cinefiat. Introduction1 It may be stated that such is the common destiny of all industrial cinema Until a few years ago, industrial cine- throughout the world, similarly to other matography was the great absentee of Italian forms of so-called minor or specialized cinema history. Its productive activity, cinema such as amateur cinema films, which began in the early twentieth century, ethnographic or anthropological docu- survived until the 1980s, when the inform- mentaries. These particular genres rep- ative predominance of television and the resent an unexplored visual territory that spread of video-magnetic recording decreed lives on the fringes of cinema and its of- its extinction (Slide, 1992, pp. IX-X). ficial historiography. Yet, in the years of its greatest expansion, Italian corporate Out of circulation and relegated to cinema as a whole reached the size of the shadow of corporate archives, it seemed a real audiovisual industry, which pro- destined for complete oblivion. Neglected duced around 30,000 titles throughout its by critics and historians, Italian industrial history. A cinematography with its own cinema represents a genre of cinema little studios and equipment, it gathered spe- studied in its own country and almost com- cialized directors and qualified technical pletely unknown abroad. Scarce evidence of crews. Moreover, there were distribu- the productivity of Italian industrial cinema tion and rental film networks and many resides in movies related to famous authors: support activities, such as festivals, exhi- directors who had made their debut in the bitions, and specialized press. film sections of large companies before moving to art films (like Ermanno Olmi) The history of Italian industri- or well-known personalities who had made al films between the fifties and seven- some sporadic foray into the corporate doc- ties constitutes therefore a rich field of umentary (such as Michelangelo Antonio- study and analysis, even very particular, ni2, Joris Ivens3, Bernardo Bertolucci4). as demonstrates the work carried out by Laura Clemenzi (2018) on the dialogues and linguistic texts of an odd thirty busi- 1 [The Editor would like to extend her thanks to Madelaine Fava for her proofreading.] ness films of that period. 2 In 1949, Michelangelo Antonioni (1912-2007) directed the short documentary Sette canne, un vestito, produced for the chemical company SNIA Viscosa (Società Nazionale Industria Applicazioni – Viscosa). The film screenwriter and film producer. Son of the poet Attilio describes the production of artificial silk from reeds Bertolucci (who was also the director of ENI’s house grown in reclaimed marshes. organ “Il Gatto Selvatico”) directed his first film, La commare secca (1961), at the age of 21 and with the 3 Joris Ivens (1898-1989), Dutch director of more than subsequent Prima della rivoluzione (1965) he established fifty documentaries exploring leftist social and political himself as one of the most important directors of his concerns, among which: De brug (1928), Regen (1929), generation. Later he became an internationally master Borinage (1933), Zuiderzee (1934), Spanish Earth thanks to films such as: Il conformista (1970), Last (1937), Pueblo en armas (1961), Pour le Mistral (1965). Tango in Paris (1972), Novecento (1976), The Last 4 Bernardo Bertolucci (1941-2018) is a director, Emperor (1987), The Dreamers (2001).

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The so far limited interest in this Furthermore, work, as a subject phenomenon does not solely rely on the of cinematographic stories, can be con- will of scholars, but on other problematic sidered a problematic item; as Comolli issues as well. First of all, industrial films warns: “work [...] is a world only are ephemeral subjects: they are not de- weakly enchanting, and little suscep- signed to last for a long time, and their tible of being in its turn enchanted by conservation is thus negatively affected. cinema, if not in the form of a night- As with other secondary sources – mag- mare” (Comolli, 2000, pp. 27-286). azines, documents, prints –, historians To him, cinema is used to distract the often work with fragmented materials, audience from their job, but industrial sometimes difficult to reach, with lacking cinema could have been used to distract information and incomplete data that the public from the fatigue of work, can only be reconstructed by hypothesis. from its dangers, from its alienation, to Such a condition also creates a certain im- propose at the end an acceptable image balance. Studies focus mainly on the cor- of the efforts which must to be endured porate groups that possess a rich archive in the name of industrial and economic documentation – Olivetti, Eni, Edison, development. This is a valid statement, Pirelli – while for other companies, inter- which can easily be verified in many est is generally lower. industrial films. It would be simplistic, however, to dismiss the entire corporate Secondly, it is believed that indus- cinema as a mere propaganda expres- trial cinema is a “plain” genre, less rich sion of the industry – it would be like in stimuli than art cinema or documen- accusing fictional cinema of being only taries. Italian industrial cinema is often a mechanism of spectacular evasion. It blamed for its lack of originality and of would be equally wrong to exalt only interest in working conditions: a cinema those industrial films that bear a prestig- that only seems to deal with machines ious signature, as if they were not facing and almost never with workers (Bertozzi, 2008, p. 130). Some criticisms are partly true if we look at the overall production (SIC). Istituto Luce – whose first history is linked to the of industrial films, especially those of the Italian Fascist Party – was aimed at political propaganda and information through newsreels and documentaries fifties, when a flat and descriptive style shown in movie theaters [URL: http://www.treccani.it/ of directing, combined with a didactic enciclopedia/istituto-nazionale-l-u-c-e_(Enciclopedia- sound commentary were still influenced del-Cinema)/]. Incom (Industria Nazionale CortiMetraggi) was founded in 1938 by journalist Sandro by the rhetoric of the Luce and Incom Pallavicini to produce information documentaries. Since newsreels5. 1946 his newsreels, called “La settimana Incom” (The Incom Week), replaced those of Istituto Luce in cinema scheduling. Up to 1965 were produced 2555 Incom newsreels [URL: http://www.treccani.it/enciclopedia/ 5 Istituto Luce (L’Unione Cinematografica Educativa) incom_(Enciclopedia-del-Cinema)/]. was established in 1924 on the basis of another film organization, the Sindacato Istruzione Cinematografica 6 All translations from Italian to English by the author. the same communication needs as many nies began making films commissioned by other anonymous films. leading industrial manufacturing compa- nies. To date, it is estimated that between Despite a still limited and sectoral 1905 and 1914 more than fifty industrial interest, recent years have contributed to documentaries were produced (Clemenzi, reevaluate this “sunken” cinema through 2018, p. 40). Based on Bertozzi (2008, the expansion of studies and the multipli- pp. 52-52) and Clemenzi (2018, p. 40), cation of events and public projections. the following scheme (p. 107) lists some Above all, the recovery of company ar- of the first Italian business films. chives had positive consequences on film restoration, digitalization and online dis- tribution. In agreement with the Centro The film about Borsalino hats is Sperimentale di Cinematografia, in 2005 still interesting for its narrative structure: the Archivio Nazionale Cinema d’Im- the documentary part – filmed inside the presa established an archive of corporate factory to illustrate the various stages of films that preserves about 50,000 film hat making – is preceded by a short fiction reels made by the major Italian compa- that shows the birth of the company in an nies since the early twentieth century7. imaginary and adventurous key8. In 1911 To these initiatives we add the realiza- film pioneer Luca Comerio9 signed what tion of some video anthologies on DVD was probably the most iconic Italian indus- including the following: Pirelli in 35 trial film of the silent era: Le officine della mm., Cinema Elettrico. I film dell’ar- Fiat. The first testament on celluloid film chivio AEM (edited by Gianni Canova of the first Fiat plant on Corso Dante in and Giulio Bursi), Ermanno Olmi. Gli Turin. Comerio’s film represents a still im- anni Edison documentari e cortometrag- provised and sporadic relationship, grown gi (1954-1958), the new edition of Ber- nardo Bertolucci’s documentary La via del Petrolio. 8 The prologue tells the story of a shipwrecked man on a desert island – a new Robinson Crusoe – who after hunting a rabbit accidentally discovers the properties of its fur. Eventually, back at home he treasures this discovery and exploits it by starting the production of felt hats. The film – digitally restored in 2008 by CSC Models of production Cineteca Nazionale and Archivio del Cinema di Ivrea of Italian industrial cinema – is available on the video platform Vimeo [URL: https: //vimeo.com/173888493/4cf9a2a8b3]. The origin of Italian industrial 9 Luca Comerio (1878-1940) was a photographer and film director. Official photographer of the Italian Royal cinema dates back to the early 1900s, House, he founded his film production house in 1907. when the new-born private film compa- The following year it became the S.A.F.F.I. (Società Anonima Fabbrica Films Italiani) and in 1909 it changed its trade name to Milano Films. Comerio left Milano 7 See the dedicated playlist on YouTube [URL: https: Films in 1910 to found Comerio Films which closed //www.youtube.com/user/cinemaimpresatv/playlists]. definitively in the First post-war period.

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Title year production company

La fabbrica dei salami (The Salami Factory) 1905 Ambrosio Film (Turin)

L’industria del veleno (The Poison Industry)

L’industria della pesca (The Fishing Industry) 1908 Itala Film (Turin) L’industria della ceramica (The Pottery Industry)

L’industria del burro e del formaggio (The Butter and Cheese Industry) L’industria mineraria in Sardegna (The Mining Industry in Sardinia)

L’industria del cotone (The Cotton Industry) 1910 Cines (Rome) L’industria della carta nell’isola di Liri (The Paper Industry in the Island of Liri)

L’industria delle candele (The Candle Industry)

La cartiera di Fabriano (Fabriano Paper Mill) 1908 Saffi-Comerio [later Milano Films] La fabbricazione dei cappelli 1912 (The Manifacture of Borsalino Hats) (Milan)

within the same urban and entrepreneurial only in the second post-war period that milieu. As the film critic and historian of the Italian corporate cinema took on the cinema Giampiero Brunetta well described dimensions and the articulation of a real with regard to the city of Turin of those media structure integrated into the corpo- times, it was a place where the automobile rate communication system. pioneers and those of the cinema met every day, went to the same bars and the same circles, “adopt[ing] the same industrial rhythms, depart[ing] to conquer the same The Italian corporate markets” (Brunetta, 1988, pp. 214-215)10. cinema: actors and Even though Fiat and other companies organization continued to make industrial documen- tation films in the following years, it was The industrial push initiated by the Second post-war reconstruction and the abandonment of the “low consumption” 10 Even the factory brands ended up resembling and overlapping each other. Thus, there were cars and film policy in favour of an increase in con- which bear the same name, like Itala or Aquila. sumer goods, engaged companies in the restructuring of production facilities and of well-being for the whole country. of information and marketing activities. The filmic image was given the task to In the strengthening of communication spread this message to the wider public; activities, the largest industrial groups it would show on the screens, to the Ital- immediately understood the new role ians themselves, how the fruit of their that the cinematographic image played. work and their efforts was building a new The sporadic and uneven documentary and better future within the same com- realization of the past left room for a munity of ideals (Frascani, 2010, p. 60). new concept of film production in which For these reasons, the largest companies the cinematographic story of industry in the country, within a matter of a few became a permanent part of corporate years, were increasing their corporate communication strategies. These movies film production by organizing it on new started to be considered as additional bases. products coming out of the factory as- sembly lines. These ephemeral films11 In this period the industrial film pro- were no longer limited, as in the past, duction was split into two organizational to exclusively magnify the “physical” models. The first was the one adopted by dimensions of industry and its manufac- most companies and conceived to com- ture. Now corporate films – like educa- mission documentary film to external tional films – were called in to build the film production companies. This was the popular myth of the economic miracle, usual practice adopted by firms such as: to celebrate the effort in moderniz- Alfa Romeo, Pirelli, Farmitalia, Breda, ing public infrastructure (dams, power Campari, Innocenti, Falck, Azienda Elet- plants, roads, communication networks, trica Milanese (A.E.M.), Bassetti, Face extraction systems), and to educate cit- Standard, Motta, Italstrade, La Prealpi- izens, for the first time in the nation’s na, Techint (Mosconi, 1991, p. 79). In history, to the new dimension of con- many cases, these were small or medi- sumerism (Bonifazio, 2014a). In those um-sized companies, who approached years the big private and public corpo- cinema occasionally, often without a real rate groups created a collective imagi- “planning strategy for reasons of oppor- nation in which their activities – in Italy tunity [...] or for the improvised way with and abroad – contributed to the conquest which some entrepreneurs or managers face this experience” (Mosconi, 1991, p. 80). In these cases, the production 11 Ephemeral film is a term introduced in 1982 by the was quite reduced, sometimes limited American archivist and filmmaker Rick Prelinger. A definition – or an anti-definition, according to the author to a single film. Narrative subjects were – borrowed from antiquarian booksellers who call very often circumscribed to the display “ephemera” all those documents intended for short- of products or installations, or to the rep- term and limited consumption: magazines, brochures, advertisements, etc. In this sense, sponsored films and resentation of the whole company and corporate films can also be called ephemerals. its developments. The case of big com-

108 109 panies was different: despite the absence strategies that American marketing and of a true film policy, they were able to advertising agencies were spreading in finance a more substantial film activity. Europe (De Iulio & Vinti, 2009).

The second model, on the contra- In this climate of renewal, Mon- ry, was based on the establishment of tecatini chemical company and Olivetti in-house film unit and was at the heart were the first two Italian firms to estab- of the development of a renewed indus- lish their respective cinema departments trial cinematography system: a model in 1951. Gruppo Cinema Montecatini imported from the United States where was put under the direction of Giovan- it had been in use long before. In the ni Cecchinato, a director hired by the summer of 1913, Henry Ford wanted company in 1948 as technical propa- to film the production at the Highland gandist. Montecatini Cinema Group was Park plant. In April 1914 he commis- able to supply all phases of filmmaking sioned Ambrose B. Jewett – the head with the exception of film printing and of advertising operations – to set up a sound dubbing; these two stages were “moving picture department”, the first performed by private technical lab- in the history of United States industry. oratories. At first his production was In addition to corporate films, the Ford directed towards the rural public: ag- Motion Picture Department produced ricultural technique films, educational two popular newsreel series for several films on botany and agronomy, territorial years: Ford Animated Weekly (1914- information films. Later on, films were 1921) and Ford Educational Weekly also made for a wider audience: techni- (1916-1925) as well as fifty titles made cal and scientific research documenta- in three years (1920-1923) for the Ford ries, promotional films on products or Educational Library (Slide, 1992, p. 3; company group’s activities. Montecati- Stewart, 2011, pp. 1-3). ni had already produced 118 20-minute short films in 1959, with an average of Later, in the fifties, the example of 15 per year (Mosconi, 1991, pp. 69-71). Henry Ford inspired several large Italian companies which set up their own film The first filmic experiences inside units integrating them into their existing Olivetti were conducted by Aristide advertising and propaganda departments. Bosio and his collaborators within the “In their post-war organizational reor- photographers and zincographers office. ganization, the most important Italian When the company decided to create business groups maintained a strong in- an internal cinema unit, Bosio’s team ternal control of communication and ad- became its first film crew. The Sezione vertising activities” (Vinti, 2007, p. 21). Cinema (cinema section) was part of In those years, this corporate setting the Olivetti’s Communication Sector, conflicted with the new communication a complex organization divided into two large units and several specialized are outside the specific field of industrial offices. The film production depended cinema, it is worth mentioning them as on the Direzione Propaganda e Stampa witnesses of the uniqueness and moder- (Propaganda and Press Direction) di- nity of Olivetti’s audiovisual thought. rected by journalist Ignazio Weiss, but also cooperated directly with the Ufficio In 1952, it was the turn of Fiat Stampa – the press office headed at the to create Cinefiat, under the initiative time by the writer and poet Libero Bigi- of Gino Pestelli – director of the Press aretti (1905-1993) – and with the Ufficio and Propaganda Department. Not just Letterario (Literary office, lead by the a cinema unit, but a real production writer and poet Franco Fortini12). The company, Cinefiat owned the largest Cinema Section completed the ambi- private film studios in Italy after Cinecit- tious cultural program of Adriano Ol- tà14 and was one of the few film units to ivetti, the enlightened industrialist who shoot in 35mm. film format. The inter- wanted to promote a humanistic and cul- national dimension of the company com- tural renaissance. In this sense Olivetti’s mitted Cinefiat to the dubbing of films cinema would try to create “works that in 19 languages – including Esperanto15 go beyond the promotional purpose of – and to the establishment of a wide dis- the industrial film to affirm a renewed tribution chain. In some ways it is as if awareness of man” (Bertozzi, 2008, Fiat had brought back to the city some p. 139). From the cinematographic point of that film industry that had animated of view, the highest example of this cul- Turin during the Belle Époque16. tural tension is represented by the series

of Critofilm d’Arte (Art Critofilms) di- (Bellotto, 1992, p. 65). The company also put its rected by Carlo Ludovico Ragghianti and technical know-how at the director’s service to solve produced by Olivetti, between 1954 and shooting problems, as in the case of the “vertical camera” designed expressely for Ragghianti by the engineer- 1964, for the SeleArte Cinematografica cameraman Carlo Ventimiglia (Bertozzi, 2008, p. 137). series13. Although these documentaries Further information is available on the Ragghianti Foundation website [URL: https://www. fondazioneragghianti.it/]. 12 Franco Fortini (Franco Lattes) (1917-1994) was a 14 See [URL: https://ricerca.repubblica.it/repubblica/ writer, poet essayist, editor for the political journals Il archivio/repubblica/2001/11/27/lo-realizzera-la-euphon- Politecnico and Quaderni Piacentini. il-piu-grande.to_005lo.html]. 13 Carlo Ludovico Ragghianti (1910-1987) was an art 15 In this regard, in the documentary Cinefiat Presenta historian and critic, director of art magazines Critica (Castelletto, 2012) Osvaldo Marini (Cinefiat film editor) d’arte (1935, in collaboaration with Ranuccio Bianchi tells a curios anecdote: the film versions in Esperanto Bandinelli), SeleArte (1952-1965), Criterio (1957-1958). were translated and dubbed by a Fiat engineer who was For Olivetti, Ragghianti took care of two complementary also an avid expert in this language, a further initiatives: the SeleArte magazine, and the serie of demonstration of the use of resources within the eighteen Critofilms created for SeleArte Cinematografica company. (produced by the Olivetti Company between 1954 and 1964). Ragghianti’s Critofilms differ from classic art 16 An era in which “before Hollywood Torino is documentaries because they propose a new type of probably the first Mecca of cinema” (Brunetta, 1988, critical analysis through the cinematographic image p. 215).

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In 1954 the time had come for the blicità (advertising service, directed by electric company Edisonvolta which, Dario Accivile) and then by the Servizio through the work of the young Ermanno Relazioni con la Stampa (director Tito Olmi (1931-2018), founded Servizio di Stefano). Between 1956 and 1957 the Cinema, changing its name to Sezione company probed the audiovisual market Cinema Edisonvolta the following year. to evaluate the opportunity to resort to The same year, Carlo Erba pharmaceuti- external production companies, or to cal industry also founded its own Centro create its own film sector (Frescani, 2011, di Cinematografia, assigning it to the p. 45). Eventually, the second option was physician Mario Scolari. Under his lead- considered best, and in 1958, Eni set up ership the company’s film activity would an autonomous Ufficio Cinema led by become a reference point for medical and the journalist and film critic Pasquale scientific cinematography. Ojetti. For ENI – as in the Olivetti case – the Cinematography Centre was part ENI’s film activity comes last. The of Enrico Mattei’s industrial vision, “ab- Ente Nazionale Idrocarburi (ENI) was solutely aware of how much it was nec- established in February 1953 and direct- essary to combine in the same strategic ed by Enrico Mattei (1906-1962) until horizon scientific-industrial culture, po- his death. It was a Government company litical culture and humanistic culture” born from the experience of the Agenzia (Latini, 2011, p. IX). Mattei “wanted Generale Italiana Petroli (AGIP), the documentaries to strongly emphasize the fascist national oil company founded in prospects of well-being that the company 1926 and renewed by Mattei in the late was able to create and bring to depressed 1940s, when he was its extraordinary areas” (Frescani, 2010, p. 42). In ENI’s commissioner. From a cinematographic films, the company’s activities and prod- point of view, there is a line of continuity ucts were represented as “indispensable between the two companies. Beginning in means for the development and progress 1950, the first documentaries were made of society” (Ivi, p. 57), especially in view for AGIP and later for ENI, for a total of of an industrial development of southern about ten titles17. In this phase, filmic pro- Italy (Bonifazio, 2014b, p. 331) and sub- duction was employed by Servizio Pub- sequently of a new economic policy for Third World countries.

17 Amongst which we mention: 3000 metri sotto il suolo, Giulio Briani, 1950, with the cooperation of The choice of big company groups to Centro Studi of Lodi; Le ricerche del metano e del integrate film communication within the petrolio, Virginio Sabel, 1951, with the cooperation of Centro Nazionale delle Ricerche (CNR); Pozzo 18 corporate organization satisfied different profondità 1650 (Carlo Capriata, supervised by needs. First, it allowed a more efficient Alessandro Blasetti, 1955); Arterie d’acciaio, Edmondo management of economic resources. Sec- Cancellieri, 1956; I prigionieri del sottosuolo, Ubaldo Magnaghi, 1956; Una fiammella si è accesa, Enzo ondly, the company could directly control Trovatelli, 1957. film direction and production activities, given that the technical staff employed in who made several quality films for ENI18 film production was inside the company (Latini, 2011), or like the most famous and was part of the company workforce. cases of Joris Ivens and Bernardo Berto- Finally, it allowed better coordination lucci. The Dutch master directed L’Italia between the cinematographic activities non è un paese povero (1960), born as a and the other operations of communica- television documentary, on the chances tion and corporate identity conducted by of economic and social progress linked the various press offices, or advertising to the natural gas deposits discovered by and public relations offices. ENI in the Padana Valley and in Lucania. To its realization – it is worth remember- The figure of the “regista-funzion- ing – the young Tinto Brass19, Valentino ario” (film director-functionary) accord- Orsini20, Paolo and Vittorio Taviani21 col- ing to the definition of Cec­chinato (1971, pp. 45-46) corresponds to the same con- cepts of functionality and integration; in 18 For ENI, Bovay directed: Oduroh (1964), Da palma a Gela (1965), Gli uomini del petrolio (1965), La valle fact he is a filmmaker who grew up within delle balene (1965) and the trilogy: Africa: nascita di the company and has a deep knowledge un continente (1968). He was one of the first directors of Télévision Suisse Romande. Author of the program of the technical and productive topics he Continent sans visa (1959-1969) together with Claude will film. Furthermore, being part of the Goretta, François Bardet, Jean-Claude Diserens, Jean company, he knows its organizational Jacques Lagrange. It was precisely for this program that he directed the report Mort d’un Condottiere Enrico logic. Entrusting the direction of the cine- Mattei. His documentary work in the sixties includes: matographic units inside corporate roles – Harlem sur Seine (1962), Folies (1962), He (1965), Le be they directors, journalists or film critics reflux de la Vague (1968), J’ai... Je prends... (1969). Bovay died in 1987. – also meant creating a very precise filmic 19 Tinto Brass (1933) is a director and screenwriter. style that over time would characterize, to He is considered the master of Italian erotic cinema. the point of distinguishing, the entire cor- He worked in the late Fifties as archivist at the porate audiovisual language. Cinémathèque of Paris, making contact with the Nouvelle Vague environment. Before he became director, he worked as assistant for Roberto Rossellini The existence of an internal film and Joris Ivens. Among his films: Chi lavora è perduto section did not stop industries from using (1963), Il disco volante (1964), Salon Kitty (1975), Caligola (1979), La chiave (1983), Miranda (1985). private production or employing directors 20 Valentino Orsini (1926-2001), director, screenwriter independent of the company. A typical and teacher at the Experimental Centre of ENI practice was to buy documentaries or Cinematography in Rome. He was a politically commission them from production com- committed author, distinguished for his rigorous non- conformism. Among his films: Un uomo da bruciare panies such as the Documento Film or (1962), I dannati della terra (1969), L’amante dell’Orsa Vette Filmitalia – both owned by Giorgio Maggiore (1971), Uomini e no (1980). Patara (Frescani, 2010, pp. 73-81). Even 21 Paolo (1931) and Vittorio Taviani (1929-2018) more significant was the recourse to brothers and film directors, debuted with the film I sovversivi (1967) and achieved success with Sotto il famous directors, such as the French segno dello Scorpione (1969). Their cinema is documentary filmmaker Gilbert Bovay distinguished by themes of historical and political

112 113 laborated, proving that industrial cinema the Carlo Erba Centro di Cinematogra- constituted a training ground for the new fia ceased to exist following its entry in generation of directors. In 1967, Bernardo 1971 into the Montedison group. In other Bertolucci produced La via del petrolio, cases, cinematographic sections would a “documentary of poetry” divided into last longer, as for Olivetti and Cinefi- three episodes following the journey of at, extending their existence until the oil from its extraction in Iran to the harbor threshold of the nineties, although their of Genoa, and from there through an oil film production had practically ceased in pipeline to the German refinery in Ingol- the 1980s. For Cinefiat the decline began stadt in Bavaria. in the mid-seventies due to the transfor- mation of Fiat into a holding company. The destiny of the various in-house Its structure was dismantled, and its staff film sections would follow on the one redistributed within the new companies hand the parable of industrial cinema; of the Turinese group. on the other hand, it would be linked to the events of their own company. An exemplary case was that of the Edison- Distribution channels volta Cinema Section. In 1961, Ermanno Olmi signed his last film for the elec- By definition, industrial films are tric company, Un metro lungo cinque, not primarily intended for distribution in to pass definitively to the art cinema. In movie theatres. They are mainly made to 1962 the nationalization of electricity travel within alternative circuits and be concentrated all production and distribu- screened in front of specific audiences. tion in the hands of the Ente Nazionale Though distribution in cinemas is not ex- Energia Elettrica (ENEL, the national cluded, it cannot be considered as a rule. electricity authority), forcing Edison- volta to a corporate restructuring. In Spaces, audiences and distribution December 1966, the Edison Company channels depend largely on the particu- acquired Montecatini becoming Monte- lar function of the film. A documentary catini-Edison, then Montedison in 1970. like La grammatica del fresatore – Le In this restructuring process, Edison’s operazioni di lavoro (The Grammar of Sezione Cinema merged with the Mon- the Miller, 1960, a Cinefiat production tecatini Gruppo Cinematografico, but its with the collaboration of Scuola Cen- film production began to record a signif- trale Allievi “Giovanni Agnelli”22) had as icant drop (Mosconi, 1991, p. 71). Even

22 Professional school wished by the founder of Fiat – Senator Giovanni Agnelli (1866-1945) – in order to train commitment. Among his films: San Michele aveva un skilled workers and technicians. The first location of gallo (1972), Allosanfàn (1974), Padre padrone (1977, the school was in the Lingotto plant; after the Second Palme d’or at Cannes festival), La notte di san Lorenzo World War it was transferred to the historic Fiat workshop (1982), Kaos (1984), Good Morning Babilona (1987). in Corso Dante, the same filmed by Comerio in 1911. primary recipients workers and students stitutions, cultural societies, associations, of technical schools and it would be dif- parish cinemas. In all these cases, the dif- ficult for it to get out of the classrooms. fusion was direct, that is agreed between On the contrary, L’Italia vista dal cielo, producers and users. Alternatively, there a series of fourteen sponsored films pro- was also an indirect diffusion, through an duced by Esso Italiana23 and signed by the organization which acted as an intermedi- documentary filmmaker Folco Quilici24 ary such as the Servizio Cinematografico addressed a popular and undifferenti- of Confindustria (Bellotto, 1994, p. 76). ated audience, so much so that it is still broadcast on television today. A first dis- In addition to this general distribu- tinction, therefore, can be made regarding tion system, many companies set up their the film, which can be internal, if com- own projection circuit, generally intend- posed for a corporate or specialist audi- ed for direct consumers or employees. ence, or external. Some documentation In Turin, Fiat organised the “mattinate films can address both audiences, while Cinefiat” morning shows for the em- others remain confined to the sectors to ployees’ families with film screenings which they belong, such as strictly scien- combined with documentaries or feature tific documentaries. Generally speaking, films produced by Cinefiat. Also, in Fiat industrial films were screened inside the stores in Rome, Turin and Milan, screen- company, especially in education and ings frequently took place (Torchio, updating courses, or during other related 2003, p. 138). Montecatini, on the other activities: conventions of sellers, distribu- hand, had developed the Centro Mobile di tors, affiliates. Other related environments Propaganda Agraria. Provided with vans were corporate associations: villages for equipped for cinema projections, this employees, branches, agencies, company “mobile centre” was able to organize day representation offices. Outside the factory and night screenings directly in the coun- another alternative distribution system op- tryside, bypassing the limits of theaters. erated, usually based on schools, local in- According to the company’s intentions, these shows based on educational films 23 Lorenzo Cantini (Esso Italian Public Relations had to represent a moment of dialogue Department) proposed to Quilici to create the Italian with the growers on the problems of version of the homologous French series La France vue du ciel, sponsored by Esso-France (Caputi, 2000, daily life (Michieletto, 2018, p. 5). It is pp. 65-68) estimated that between the 1950s and the 24 Folco Quilici (1930-2018) was a documentary 1960s, Montecatini’s films on agricultural director, photographer and essayist. His production can chemicals were seen by about 2 million be divided into three strands: the relationship between man and the sea, the theme of culture, documentaries spectators through 20,000 annual screen- for television. Among his films: Sesto Continente (1954), ings (Alberti, 1962, p. 180). The company Ultimo Paradiso (1956), Alla scoperta dell’Africa (1964- Carlo Erba also used vans equipped for 65), India (1966), Islam (1968-69), Oceano (1971), Fratello mare (1974), Alba dell’uomo (1975), Festa projection at the agricultural exhibi- Barocca (1983), Cacciatori di navi (1991). tions of short veterinary informational

114 115 films. Furthermore, this pharmaceutical Olmi’s documentary Un metro lungo company had organized an efficient pro- cinque (1961) won the government award jection circuit for groups of doctors, and was combined in the cinema with the schools, medical congresses, while dif- feature film by Vittorio Caprioli Leoni al fusion abroad was entrusted to repre- sole (Gonzalez, 2017, p. 23). The mecha- sentatives and associated companies. nism was therefore quite complicated and The capillarity of this system was also limiting. Even so, quality rewards were favoured by the high scientific level of the tempting to anyone. subjects of the films and by the dubbing in various languages (French, English, By a tacit agreement between pro- Spanish and Portuguese) (Mosconi, 1991, ducers, distributors and exhibitors, docu- p. 77). mentaries were eliminated from cinema programming, but through the filling out Different, however, were the roads of fake scheduling reports they seemed that industrial films had to travel to land regularly screened (Bertozzi, 2008, in cinema theatres or on television. In p. 125). Due to the absence of controls, order to be admitted to theatrical screen- several cinema exhibitors could easily ings, industrial films should not have a replace documentaries with advertis- clearly promotional or advertising char- ing films, so they fraudulently obtained acter, but somehow, they had to be com- government incentives and accumulat- parable to documentaries. Furthermore, ed income from private companies. In starting from the second post-war period this way it is not possible to reconstruct the Italian State had enacted laws to regu- exactly the distribution and impact of cor- late and financially support the documen- porate films within the cinema circuit. tary industry. The decree law 678 of 1945 designated to documentaries 3% of the Television programming was also gross collection of the shows. The 1949 complex, but for other reasons. Even “Cinema law” established quality awards Radiotelevisione Italiana (Rai), faithful for Italian films divided into feature films to its public service mandate, prohibited and short films. The law n. 1213 of No- the transmission of corporate promotion- vember 1965 reduced the quality premi- al films. Moreover, it tried to avoid those ums to only 120 per year, divided into arguments that could create frictions with quotas of 10, 7 and 5 million Lire25. The the government, the parties, the trade awards were subject to SIAE control (the unions or the Catholic Church. In this company that manages copyright in Italy) way few industrial films were able to pass and should be programmed in at least 500 the scrutiny of the censorship and su- cinemas. According to the prize system, pervision commissions. Olmi succeeded once again in 1956 with the short film Il

25 Corresponding to a current value fluctuating between pensionato, co-produced by the Sezione 10 and 20 thousand euros. Cinema of Edisonvolta and Rai, and broadcast within the television program courses” created in collaboration with Tempo libero. It should be noted that in large companies for vocational training; this film, with the exception of the Edi- as it did with Montecatini for the reali- sonvolta logo in the opening credits, there zation of an agricultural course in eleven is no other reference to the company. On filmed lessons (Michieletto, 2018, p. 2; the contrary, the story of Ivens’ docu- Mosconi, 1991, p. 71). At a national mentary for ENI, as already mentioned, level, the distribution of industrial films was troubled by a series of vicissitudes. was also supported by other institutions The agreement between ENI and Rai such as Unione Nazionale Autori e Cine- for the broadcasting of L’Italia non è un tecnici (UNAC), Centro Studi Cinema paese povero seemed to be an exchange e Lavoro (Marinucci, 1971, p. 102), of favors between two public companies. Centro Milanese Supporti Audiovisivi But in the end the film was censored. Rai and above all Servizi Assistenza Film executives did not like the crude images Industriali (SAFI), which in the 1960s of southern poverty, which denounced offered a service similar to that already a state of pauperism still far from being used in the United States with the film defeated. Thus, this documentary was library system. SAFI comprised a cinema broadcast on television in a reduced and circuit made up of parish halls, cinefo- mutilated release, with a new title: Fram- rums, associations and schools available menti di un film di Joris Ivens (Bertozzi, to large industrial companies. After each 2008, p. 144; Frescani, 2010, pp. 81-91). screening questionnaires were distribut- ed and then returned to the companies To complete this framework on for audience profiling activities. Dis- distribution, we must finally remember tribution was free. The exhibitor paid the contribution given by institutions nothing for the rental of the film because and festivals. The activities promoted by maintenance and exploitation costs were Confindustria were joined by those of the borne by the participating industries. various Chambers of Commerce that or- ganized film screenings and exhibitions Finally, festivals and exhibitions abroad in collaboration with consulates were the most specialized and profes- and other organizations such as the Isti- sional circulation area for industrial tuto Nazionale per il Commercio Estero films. The Festival del Cinema of Venezia (ICE). Other subjects active abroad were – which hosted scientific films in minor cultural institutes such as the Italian Cul- exhibitions – in 1950 established Mostra tural Institute in Spain between 1950 and del film scientifico e documentario. In 1970. In Europe there was also the Comi- 1957 the Festival del documentario in- tato Europeo per lo Sviluppo Economico dustriale e artigiano di Monza26 was e Sociale (CEPES), which in the 1950s

formed the Comitato per il Progres- 26 The festival was born from the will of Luigi Scotti, so Educativo (CPE) to establish “film councillor of the Municipality of Monza, and Walter

116 117 launched, which in 1959 became the of ANICA29 brought together producers Festival Europeo del documentario in- of industrial films, topical and animated dustriale e artigiano, dedicating a section short films. to European industrial films. In 1962, it expanded its dimension and became the Festival Internazionale del documen- tario industriale e artigiano to cease its The theoretical debate activity in 196427. In competition with on tecnofilm the Monza Festival, Confindustria in 1960 organized the first edition of the The great development of Italian in- Rassegna Nazionale del film Industriale, dustrial cinema between 1950 and 1965 a traveling event that up until to 1971 is accompanied by theoretical reflections was hosted every year in a different city. on the identity, forms and objectives of Between 1960 and 1963 in Milan the business films. A relatively new topic for Mostra internazionale del film scientifi- Italy, which in comparison with the other co took place, promoted by the Centro di industrialized countries highlighted the cinematografia scientifica of Politecnico precariousness of the approach “without di Milano. This was an extremely spe- precise guidelines on the ways to go, in cialized initiative which, in the context a climate of improvisation and adven- of industrial cinema, occupied a second- ture” (Gozzi, 1971, p. 22). In this way, ary position28. In 1961, two other sec- the critical contributions, made by experts toral initiatives were added. The birth in inside and outside companies would take Milan of the Mercato Internazionale del the dimension of critical debate which, Film e del Documentario (MIFED) and however, would not exceed its profes- the establishment of Unione Nazionale sional boundaries while remaining hosted Cinematografia Specializzata, a sector in exhibitions, festival and specialist magazines such as Primi Piani, Film In- dustriale, Film Special, Cinematografie Specializzate. A debate difficult to recon- Alberti, curator of the Cineteca Italiana in Milan struct, made up of fragmentary contribu- 27 Despite its international success, the Monza Festival tions, isolated interventions within the ended after a few editions. To the main causes – the competition of Confindustria Festival and the complexity reference events, which were rarely col- of economic and political situations – Elena Mosconi lected and ordered within a publication. adds the promoters themselves, who “as early as [...] Despite this, it was a debate characterized they had been able to grasp and channel the potential of industrial cinema, with the same timing they warn by “a substantial homogeneity and con- – more or less consciously – the impending crisis” cordance – even temporal – a symptom (Mosconi, 1991, p. 88). of a reflection not separated from the 28 The exhibition selected and hosted exclusively didactic, research and documentation films. There has been no more news on the initiative since 1963 (Mosconi, 29 Associazione Nazionale Industrie Cinematografiche 1991, p. 89). Audiovisive e Multimediali. practice, indeed directly inspired by it” The Encyclopedia of the Documentary (Mosconi, 1991, p. 64). Film edited by Ian Aitken summarizes the entire topic in a few lines, stating that Before entering into the merits of “industrial films are promotional films the voices and topics of this discussion designed to sell or promote a company over industrial film, a general premise in- or industry, or they may be intended as volving the most recent historical studies in house training employees. Industries seems necessary. To date – despite the and individual companies frequent- fair number of specialists’ analysis that ly finance such films” (Aitken, 2005, have appeared in recent years – a uni- pp. 624-625). vocal and perfectly shared definition of what an industrial film is seems to be still The analogous entry written by far away. The responsibility for this is to Sera­fino Murri for theTreccani Cinema be found first of all in the nature of this Encyclopedia reads: particular cinematographic genre that continually escapes the classifications By industrial documentary film (or of traditional cinema. Corporate movies technical-industrial film), we mean a are based on communication needs that form of documentation and informa- tion internal to the world of work, pro- are different from those of fiction films duction and technology, realized with or purely documentary cinema, although cinematographic means, animated by they share most of the same narrative and professional objectives and destined grammatical features. Their relationship to a diffusion circuit different from with the public is functional rather than the commercial one. Commissioned by related industries and government artistic. Their history is linked to the bodies, with well-defined goals ranging events of the companies that commis- from celebration to education and sioned them and the economic environ- sector advertising, the industrial film ment in which they were produced and has the task of describing manufactur- ing processes, providing reports and used. In this way the description of the presentations of projects and produc- most characteristic features of industri- tive activities, estimates of market, and al films, and the exposition of their main sometimes to update the professional 30 functions, change significantly based on figures technically and conceptually . the analytical and historical perspectives with which the subject is intended to be Although the description made by addressed. Without diving into a discus- Murri offers us a more articulated and sion that would risk going beyond the complex image of the phenomenon, in main objectives of our study, it is pos- both cases it is a question of summary sible to highlight the diversity of ter- definitions, built on the identification of minological and critical approaches by

comparing even just three of the most 30 [URL: http://www.treccani.it/enciclopedia/ recent definitions of industrial cinema. industriale_(Enciclopedia-del-Cinema)]

118 119 the main communication functions that Themes addressed by today’s histo- characterize corporate films. In the fun- riography echo to a certain extent the dis- damental text Films that Work, Hediger cussions that animated the Italian debate and Vonderau propose a different an- in the sixties and seventies. Even then alytical approach that identifies three they tried to define the film material based founding functions in industrial cinema: on the contexts of function and use, es- Record, Rhetoric, Rationalisation. Ac- pecially with the aim of “legitimizing the cording to these principles, corporate use of cinema for industrial purposes” films are transformed into an effective (Mosconi, 1991, p. 65). In other words, and persuasive business tool able to: the possibility of recognizing in the film, constitute the institutional memory and besides its artistic value, also those qual- the history of the company (Record); ities of linguistic universality, of visual build the business image in order to concreteness that makes it a suitable create social cohesion and to stimulate medium both for technical information cooperation (Rhetoric); and document and for social communication. the activities driven by technological innovation and rationalize the stages of The first attempts to define industri- development and production through al cinema were born within festivals and research films or scientific ones (Ration- specialized exhibitions. In these cases, alisation) (Hediger & Vonderau, 2009, the aims were practical, even before pp. 35-50). Furthermore, the use of these being theoretical; the organizers needed three foundational categories makes it to establish categories to select and order possible to overcome the concept be- the heterogeneity of the films being pro- longing to a cinematographic genre, to grammed, in addition to the awarding cri- bring industrial cinema back to its corpo- teria in the event of a competition. A very rate dimension; as the two authors state precise example is found in the regulation in a subsequent passage: of the first edition of the aforementioned national review of Industrial Film, which divides the films into seven distinct cate- In fact, we would argue that the indus- trial film is not a genre in the accepted gories by type: sense of the term at all. Rather, it is a strategically weak and parasitic form - Films on industrial topics (economic, [...] in the sense it can assume the ap- social, technical, scientific) of general pearance of other, more stable genres and formats and pass as a scientific film, interest – undifferentiated audience. an educational film, or a documenta- - Films presenting a particular interest ry for specific strategic reasons. To the in a material, a project, an industrial media historian, the common trait of all product – undifferentiated audience. the shapes and forms that the industrial film can assume lies in their organiza- - Films that do not have a specific in- tional purpose (Hediger & Vonderau, formation purpose, such as those of 2008, p. 46). the previous categories, contribute to the prestige of an industrial sector classifications in order to create a refer- or a company non – differentiated ence system for producers, directors and audience. audience (Mosconi, 1991, p. 65). Conse- - Films on particular materials, pro- quently, in the specialists’ debate, we are jects or industrial products – special- witnessing a taxonomic proliferation that ized audience. distinguishes in: documentation films, - Films for the training of managers or public relations films, educational and re- workers (e.g. management methods, search films (scientific and/or applied to measures to increase production, ra- the industry), social service films, tech- tionalization and automation, human nical-industrial films, institutional films, relations of the company, vocational sponsored film (Bellotto, 1994, p. 22; guidance and training) – industrial Latini, 2011, p. XIII). In an attempt to find audience. a descriptive formula that can mediate - Films on accident prevention, oc- between the absolute generality of the cupational diseases, occupational term “industrial film” and the redundant hygiene, rehabilitation, social cor- functional classifications we have just porate initiatives industrial audience seen, the cinema historian Mario Verdone (Falchero, 2000, p. 157). proposes the concept of “tecnofilm”:

From the list we can immediately The technical-industrial film, or tecno- notice the absence of advertising films for film, is a technical documentary, which promotion and sales, a category general- provides information on work activities, illustrates industrial processes, studies ly excluded from all reviews, along with production activities in detail, profes- purely tourist, agricultural and medical sionally guides apprentices, workers and films (Bellotto, 1994, p. 76). The need specialized workers. It should not be, by to clearly separate the business film from its nature, a documentary to be presented commercial promotion aimed at specif- to the general public, during a screening for entertainment, because it is strictly ic consumer targets is clearly underlined professional; however, it performs, with by a note issued by the Sezione Cinema its own audience, a precise task, which Industriale of Confindustria, which in de- has its function and its usefulness in the scribing the industrial film warns that it world of work. However, there are films [...] that manage to combine documen- has as its purpose “the presentation in an tation with the theatrical display, and educational or promotion (but not adver- sometimes, with visual poetry. On the tising) of a product or an economic-pro- other hand, the film director, if he wants ductive activity” (Bellotto, 1994, p. 40). to grab the attention of a wider audience, cannot give up dramatization (Verdone, 1961, p. 27). In addition to festival regulations, even in the common practice between companies and communication profes- Years later – within the collective sionals there was a need for typological book Cinema e industria. Ricerche e tes-

120 121 timonianze sul film industriale (1971), not always available; on the other hand, Verdone himself takes up the theme of the fact that it was published in 1971, tecnofilm to go even further, compar- giving us an image of the debate during ing the industrial film to a real form of its full maturity. Following these traces, non-fiction, an authentic “producer of it can be observed that close to the po- culture, for the modern man who no sition of Verdone we also find Giovanni longer lives closed in himself, but wants Cecchinato and the film producer Franco to know the progress, the resources, the Cristaldi. The former sees quality indus- research, the achievements, the labors of trial cinema as a possible alternative to all his fellows” (Verdone, 1971, p. 164). fiction increasingly oriented towards pure By intertwining information, teaching, at- entertainment and escape from reality. traction, corporate cinema not only plays Industrial film, on the contrary, should a role in documentation, but also expands call the viewer to a real vision of things, its mission “which is of a moral nature, through the representation of real objects, since the tecnofilm is also used for the processes, human and work conditions, moral construction of man” (ibid.). Ver- in other words: educate, inform, know done’s speech also testifies to how the each other (Cecchinato, 1971, p. 47). To theoretical debate – especially since the latter author, it is important to estab- the mid-1960s – has shifted its focus to lish a cultural policy so that in business another level of discussion. In the first cinema “the suspicion that a dialectical phase the attention was focused above relationship between industry, its themes all on the taxonomy of the functions and and problems, and the common man” is on the identification of various types of insinuated (Cristaldi, 1971, p. 55). Ac- public. Now the interest turns to more cording to Domenico De Gregorio31, the complex and profound issues such as: the attempt to define precise filmic catego- ethical responsibility of corporate com- ries is a false problem, given that “it is munication, the technological exaspera- not possible to establish as many catego- tion of narration, the figure of the worker ries as there are infinite topics that can and in general of human work. be illustrated with the cinematographic medium”. A good industrial film can also To summarize the evolution of these be used for needs other than those for topics, we will rely on the interventions which it was made. More than belong- contained in Cinema e Industria. This ing to a specific category, its main gift is collection prepared by the Direzione Cen- the “clarity of intentions”, that is to say a trale per i Rapporti Esterni della Confed- precise delimitation of the objective to be erazione Generale dell’Industria offers a achieved (De Gregorio, 1971, pp. 57-59). double advantage: on the one hand, the chance to compare reflections and inter- ventions in a single text that are usually 31 At the time Inspector General of the Ministry of scattered on various sources, which are Tourism and Entertainment. Other authors focus more on the prob- the responsibilities that the industry has lems of film language and on the dif- towards society. ficult role of the director, who must succeed in mediating the pragmatic needs of the industry with the need for From an internal point of view a precise audiovisual representation within the company – but on an ideolog- and at the same time engaging. In this ically distant position – is the thought of 32 sense, Attilio Giovannini claims to the Oddone Camerana34, who considers the corporate cinema the merit of having contributed – together with other so- natural limits of industrial cinema as real called “utilitarian” film genres – to prohibitions on which directors should the evolution of the cinematographic never infringe. In this perspective the language. A merit that too often is authentic corporate film cannot be crit- recognised only in the feature cinema ical, because its validity must be guar- (Giovannini, 1971, pp. 69-70). anteed by the credibility of the subject at the base of its story (a product, a A further element of discussion service or the company itself). It cannot concerns the tendency of many tec- be free or anarchist. It cannot be topical, nofilms to exclusively enhance the because its level of information must be technical and technological aspects of deeper and less ephemeral. It cannot be industrial work, such as documentaries, psychological, because the dimension even while well-made and accurate, that of psychology is not part of its narrative illustrate powerful machinery, complex subjects. The only exception could be production cycles, vast assembly lines, the psychology of the worker, but in this but where the worker figure is reduced case – the author asks – would it still to an accessory of the machine, even be an industrial film? The central role of when he does not disappear completely the company is reaffirmed very clearly from the film shots. Bringing the image here. At the origin of every industrial of man back to the center of the tecno- film there is the precise will of a client film is what Pasquale Ojetti33 suggests who establishes the information objec- when he states that “industrial cinema tives, identifies the relevant public and must have the courage to observe a selects the distribution channels. The little less the ‘portentous machines’ result will always be a ‘film d’ordine’ and a little more the men, especially (an order film) (Camerana, 1971, p. 44) the relationships between men living where artistic creation and direction – in industry” (Ojetti, 1971, pp. 129- while telling in a suggestive manner – 130). But the author goes further and must respect the values of the client and hopes that there is also the will to face adapt to the communicative choices de- termined a priori.

32 Professor at Università Cattolica of Milan. 33 Journalist, at the time responsible for the ENI Group’s 34 At the time editor at FIAT Direzione Pubblicità e film activity. Immagine, later in 1976 he will become its manager.

122 123

From this mosaic of reflections, advertising shorts intended for movie a common trait emerges: the heartfelt theaters were made by recycling and need to claim the linguistic autonomy re-editing the most spectacular scenes of the industrial film – the tecnofilm – of documentation films. From the sep- against fiction cinema, documentary aration between theoretical thought and and above all advertising. The idea of film production, the first signs of an an original cinematographic formula, imminent crisis were already felt, the which starting from the needs of the feeling of having missed the main ob- company could become true social jectives. The theoretical debate failed to communication. In this way the indus- really influence the structure of indus- trial film would be freed from the preju- trial cinema, to modify its characters. dice that wants to consider it always as Perhaps the efforts of Italian authors a factory product “but the rehabilitation were also conditioned by other reasons, takes place in the name of a mystifying such as the need to confront the politi- principle, the objectivity of informa- cal and art documentary, which in those tion” (Mosconi, 1991, p. 67). years showed a critical force against industry and the condition of work; the The attention with which we try – search for a balance between industri- at least in theory – to define the various al production and intellectual work; boundaries of audiovisual communica- or more simply the will, for some, to tion for industry seems to be an attitude remove from the tecnofilm the propa- typical of Italian culture. In the spe- gandistic legacy of documentaries and cialized American literature (De Witt, newsreels made during the Fascist era35. 1968; Burder, 1973; Klein, 1976), for The strenuous search for a stable and example, corporate documentary and shared definition of industrial cinema, sponsored films are considered almost the attempts to justify one’s reason for on the same level. Both are part of a being, have for us today an almost ex- very distant brand image strategy and clusively historical value. The opinions communication culture. The differenc- expressed and the formulas proposed, es, if anything, are dictated by reasons rather than helping us to reveal the of production and direction. nature of such a particular film genre, implicitly reveal us what the various In real practice, however, even in corporate philosophies were, what were Italy these boundaries were much more the aims with which they intended to nuanced, especially if the company pro- duced consumer goods. Many indus- 35 Bertozzi underlines how documentary cinema in trial films reveal a particularly strong the 1950s (and consequently also the industrial one, we promotional message with respect add) has also represented a sort of “purgatory” in which directors too compromised with the Fascist regime – to exclusively technical or scientific like Romolo Marcellini or Alessandro Blasetti – could topics. Often the sixty or ninety-second become recycled again (Bertozzi, 2008, p. 124). use cinema and how to bend it, as an the north of Italy: dams, power plants, aluminum plate under a press, to give it hydraulic basins, high voltage electric a unique shape and above all, one recog- networks. Olmi’s films document all nizable by the public. Sustaining an ex- these activities starting with the movie clusively technical cinema or endorsing La pattuglia di Passo San Giacomo the need for cultural dissemination also (1954), which follows the activities of meant expressing one’s own corporate a team of maintenance workers engaged vision, making explicit the communi- in restoring the power line in the Alta cation strategy that presides over every Val Formazza. In the following film La industrial film. mia valle (1955), the main character is the watchman of a power plant built by Edisonvolta in the valley where he was born. The story follows the watchman’s Three exemplary cases memories as he describes daily life in the past and its improvement with the After describing the production arrival of electricity. The construction of and distribution structures, let us analyze the power plant provided employment to certain films of three paradigmatic firms the inhabitants; its construction has not in the field of corporate cinema – Edison, distorted the landscape of the valley, nor Olivetti, Fiat – in order to highlight their has it damaged or replaced in some way main narrative and stylistic features. the traditional farming activities. Manon finestra 2 (1956) deals with mining ac- tivities for the excavation of tunnels that Edisonvolta will serve the hydroelectric plants in Val di Fumo, at the foot of Mount Ad- As a director of industrial films, amello. Pier Paolo Pasolini wrote the Olmi was immediately noted for some commentary on the film. Its title refers works that were appreciated for their to the codename of one of the entranc- original style and documentary sensitiv- es to the excavations – called “window”, ity by personalities like Rossellini. Ac- finestra in Italian – the tunnel in which cording to the historian Brunetta, “Olmi the workers in eight-hour shifts per team, found himself reproducing in a small dig the rock and blast it with explosive way the experience of the British docu- charges. The following is the most cel- mentarism of the Thirties, of the General ebrated of Olmi’s industrial documenta- Post Office of John Grierson” (Brunetta, ries, Tre fili fino a Milano (1958). The 1993, p. 200). film describes the work of a team of workers in Val Daone (Trentino Region) His first documentaries reflect the assembling of trusses of an electric line main activities that Edisonvolta was that once finished will bring its high carrying out at the end of the fifties in voltage energy to the city of Milan.

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In all the four films, Olmi operates images of worker humanity. Close-ups of in an almost identical context both for the faces marked by fatigue; gestures stiff- high mountain environments and for the ened by the cold. The voices that spread work activities that, if viewed altogether, popular songs through the valleys, or that describe a whole range of related opera- on the contrary exhaust themselves in very tions: excavation works, building of the short, almost incomprehensible, dialectal plant, construction of the power line and dialogues. But in this continuous balance its maintenance. The difference is given between stasis and progress, between by the way in which Olmi approaches metropolis and peasant world, Olmi’s in- these issues, observing the most common dustrial cinema with its humanity and its aspects of the work: the workers’ actions expressive freedom never departs from the and the rarefied flow of time, that has corporate philosophy and faith in techno- nothing to do with the mechanical rhythms logical progress (Falchero, 2000, p. 156). of the factory. In these films, every temp- tation to excessively dramatize situations is banned, and even less so to make the Olivetti workers’ effort epic. Even the small acci- dent that causes the power line interrup- The first film made by Olivetti is tion and marks the start of the story of La from 1949: Un millesimo di millimetro, di- pattuglia di Passo San Giacomo, is told rected by the documentarist Virgilio Sabel, without excessive emphasis. The typical with a commentary written by the engineer emphasis voice over is reduced by Olmi and poet Leonardo Sinisgalli. The follow- to a minimum. The director is more inter- ing year two more films were produced: ested in restoring other dimensions: the Il martelletto directed by Aristide Bosio sounds of nature, the workers’ voices, the and Incontro con la Olivetti directed by noises of manual labour and machinery. Giorgio Ferroni with a commentary by Even the silence, especially that of the Franco Fortini. They precede the establish- peasants, who seem to observe, without ment of the Cinematographic Section in judging, the sudden appearance of tech- 1951, anticipating two fundamental items nological progress into their valleys. This of the subsequent film production: techno- soundscape will be more accentuated logical pedagogy and the representation of in the film Manon finestra 2 where the a harmonious community. musical soundtrack disappears, leaving only the sounds of nature, machinery, This last category contains films wind and explosions inside the mines. dedicated to the environment and working conditions. In Incontro con la Olivetti, the To the images of the technological company organization and factory produc- and industrial effort – which raises dams, tion are explored, but the social and cul- digs mines and that brings electricity to tural services offered by the Ivrea plant the most remote places – Olmi alternates are illustrated with equal care. Indeed, the kindergarten, the pediatric canteen, the vetti factory shapes its form in respect of pupils’ school, the playground, the library the landscape, trying to “concretely indi- are shown even before the assembly lines. cate the way for the economic and social The film depicts a modern factory model welding between the north and the south in a way which renews the industrial film of Italy”37. archetype of the Sortie d’usine36, showing what is usually not seen: the worker re- On the industrial production side, turning home (Bertozzi, 2000, p. 48) Olivetti’s films are structured around the “where rest is the right measure of the nature of its products: typewriters, cal- work done” as Fortini’s commentary culators, teletypewriters. Objects whose states. complexity is difficult to show and to explain to a popular audience. Starting Other films linger on the same from these limits, Aristide Bosio creates themes. L’infermeria di fabbrica (Bosio, a series of films that stand out for their 1951) depicts the company’s internal clarity of exposition and for the intense health service, and is accompanied by use of animated drawings. For example, an interesting reflection on the risks and the Tetractys mechanical calculator, is the causes of injuries caused by the stress main character in two films: N 6 M401 conditions of the worker. Una fabbrica e (1962) and Quattro operazioni a macchi- il suo ambiente (Gandin, 1957) deals with na (1965), where the animations reveal the relationship between the Canavese the logical and mechanical processes territory and the social responsibilities with which the machines perform the cal- that Olivetti is taking at that time, in con- culation operations. Bosio’s tecnofilms junction with the political commitment of strip machines to reveal their internal the Movimento di Comunità. Even Sud aesthetics, what the user will never see, come Nord (Risi, 1955) is directly influ- but they also tell the work of the design- enced by the social inspirations of Co- er, of the one who has the task of dress- munità. In this case, moved to the south, ing the machine technology. La forma di in the new factory in Pozzuoli designed una macchina per ufficio (1959) is a film by Luigi Cosenza to allow workers to still dedicated to Tetractys, but this time it come into contact with nature, the Oli­ focuses on the designer Marcello Nizzoli. We see him while sketching the first forms

36 Sortie d’usine was the first short film made by the of the body, then discussing with the tech- Lumière brothers with their invention: the nical designer Natale Cappellaro in front “cinématographe”. In April 1895 the two brothers filmed of the first wooden mock-up. At that time the workers leaving the Lumière factory located in Montplaisir, on the outskirts of Lyon. Of this first version Olivetti is one of the few companies that of the film, no celluloid copies survived, but the Lumière gives particular emphasis to the figures later made different versions of the same film – four of the designer and the architect and not according to the Catalogue Lumière [URL: https:// catalogue-lumiere.com/series/les-sorties-dusine/] shot in a period between May 1895 and February 1897. 37 From the film voice over.

126 127 only to that of the engineer. And it is also subjects38, Cinefiat sought to standard- the only national company to translate ize its filmic style through the use of re- the American school’s audiovisual lesson curring narrative formulas. In this way into its tecnofilms. Aristide Bosio’s style its films remained highly recognizable can be compared to that of Charles and despite telling of very different products. Ray Eames, Saul Bass or to some serial With the exclusion of advertising com- productions such as those made by Jam mercials, personnel training films and Handy Organization. institutional documentaries, a good part of the Cinefiat films seem to fall into a To conclude, we can affirm that the category included between technical and Olivetti film production, especially in promotional documentaries. For the most this first period of activity, represents a popular products, such as cars, the films fairly rare case of cultural production in- were set in fascinating and exotic loca- tegrated in business communication. The tions, such as the African desert or the tecnofilm concept is combined with a lin- Arctic Circle. In other cases, spectacu- guistic experimentation that makes use lar scenes were made, such as the launch of collaborations of relief – an example of the new Fiat 124 Sedan (1966) which being all of the graphics designed by is literally parachuted by an Italian Air Giovanni Pintori and the soundtrack Force aircraft. The same scene, isolat- created by Luciano Berio for the film ed from the rest of the film, would then Elea classe 9000 – within a rigorous become an advertising short. and interdisciplinary coordinated image system. Speaking of “Olivetti cinema” With such a wide, but at the same and “Olivetti style” does not mean de- time homogeneous, film production, it is fining a specific genre or a specific ex- difficult to find unique and paradigmatic pressive language but, in a broader way, a examples. It is more effective to outline cultural relationship with one’s own time what are the constants in terms of content (Bellotto, 1994, pp. 39, 41). and form. One of the most frequent cases is the checks on materials as can be seen in two films directed by Victor De Fiat Sanctis: F4CB Acciaio su misura (1966)

If Olmi’s cinema at Edisonvolta 38 The activities that Cinefiat had to document or looks to the documentary, while Bosio’s promote were numerous and belonged to the most varied cinema for Olivetti is part of the tecno- sectors of the Turin company. Sectors also very different from each other and with varied publics that often film genre, the hallmark of Cinefiat’s overlapped. Between the fifties and sixties, Fiat’s cinema seems to be that of grandeur – industrial production included: motor vehicles, industrial an industrial cinema that wants to be vehicles and tractors, military vehicles, large engines, aeronautical constructions (Fiat Aeritalia) and for some spectacular and international. Faced years also electrical appliances such as frigidaire and with a wide range of cinematographic washing machines. and Tolleranza zero (1961) both show draw a solid and reassuring image of the stress tests performed on steel samples. company and its work. In the first, F4CB, the dramatic char- acterization mostly involves the visual As Camerana affirmed, this is also plane. The foundry is resumed as if it an “order cinema” that performs very were the forge of a modern Vulcan god, specific tasks and that cannot be diverted with slices of light pouring down from from them. The Cinefiat film is conceived above while the scientific laboratories as an industrial artifact made in series, are closer to the imagery of the science which implies the adoption of similar fiction film. Tolleranza zero describes the formulas for various films, such as the activities of Centro Stile (the Car Design three-act narrative scheme. For instance, Department) and those of Research and Grandi Motori Fiat (D’Eramo, 1963) Control Department. This film shows opens with a historical prologue on the more realistic images than F4CB, but evolution of naval propulsion from the the sound commentary is much more Egyptians to the diesel engine. The center dramatic. part is a review of the large marine motors built by Fiat. The ending – which concep- When the story passes in review tually is connected with the prologue – the test of physical resistance of materi- shows the various types of ships equipped als, the voice over recites “if they had a with these engines. Another recurring soul, if they could talk, the metals would formula is the use of an ideal-typical say that we are torturers capable of the character – often little more than an extra most horrible tortures”. At the end the – who has the function of giving a face to same voice sums up the Fiat’s concept the film voice over: the naval officer in La of quality with this kind of emphasis: nave delle mille auto (De Sanctis, 1953), “our dream of zero tolerance reflects the the maintenance technician of Cingoli myth of absolute perfection. The ideal to per l’industria (De Sanctis, 1963), the which man is getting closer without ever Dutch journalist of Accanto al lavoro being able to reach”. Fiat. Ricognizione tra le opere sociali della Fiat (Solaro, 1962). In other films, The dramatization takes place at the story is reduced to a flat, technical the exact opposite to the clarity of the list. Alcune applicazioni dell’automatis- Olivetti’s films. Cinefiat films tend to mo alla Fiat (Canzio, 1955) reviews the show aspects of science and technology new automated machinery like a catalog. without explaining them properly. Only Only at the end, the sound commentary the concept of mechanical precision, abandons the cold technical description namely zero tolerance, is shared with and asks itself: what will be the destiny Olivetti. This is a cinema of information, of the worker? A little hesitation, but the assertive and pragmatic, which tends to voice over immediately reassures: “it can give answers, to provide data, and to be well affirmed that the automation not

128 129 only will not create insoluble problems Conclusion but will give rise to new opportunities for useful work”, even though no precision is Called to give a definition of indus- given about such opportunities. trial cinema, the film historian Thomas Elsaesser compared it to the phenomenon All these films were produced during of “Medienverbund ”: “A network of com- the years of the “possible hegemony”, peting, but also mutually interdependent from 1955 to 1962, when “the [Fiat] Di- and complementary media and media rection finally has the monopoly of power practices, focused on a specific loca- and discipline in the factory, and almost tion, a professional association, or even the monopoly of propaganda” (Torchio, a national or state initiative” (Elsaesser, 2003, p. 142). In the mid-1960s, a climate 2009, p. 22). These words, rather than a of renewal began to appear. Collabora- definition, seem a suggestion to broaden tions with the militant directors of the the themes of research and have them left wing were increasing, the so-called talk to each other. The history of Italian Cinefiat’s Rive gauche: Valentino Orsini, industrial cinema seems to confirm the Massimo Mida, Ansano Giannarelli, phenomenon described by Elsaesser and Ennio Lorenzini. This generation of direc- suggests a whole series of topics still to tors would lead to a change in the struc- be analyzed in depth, such as: the rela- ture of industrial films. Appunti per l’auto tions with political institutions, the role di domani (Mida 1965), and Progetto n. of tecnofilm inside corporate identity; the 128 (Orsini,1969) represent two stages of contribution of industrial film in the post- renewal. The car is no longer an object of war imagery, the audiovisual rhetoric veneration, but a subject under observa- from the “economic boom” of the sixties tion. Its design must be guided by its own to the crisis of the seventies. In this way public. Scientific research must be an eye the vision of industrial cinema as “a par- on the world. Aesthetics and design must asitic form” (Hediger & Vonderau, 2009. deal with new artistic and popular expres- p. 46) becomes a positive perspective sions, such as comics and graphics – a with which to observe the phenomenon. new concept of shared design, of critical The impossibility to crystallize these production. However, despite the linguis- films in a definitive form – documenta- tic experiments, this last phase of Cinefiat ry, commercial, tecnofilm – gives us the production appears as the result of a com- opportunity to use them as connecting promise between the political demands of elements between different areas. Film the 1970s and the tradition of the institu- and media subjects that can contribute to tional film communication. the historical deepening of the twentieth century. 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