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Experimental and Independent Italian Cinema 66380_Cristiano380_Cristiano & CCoen.inddoen.indd i 006/06/206/06/20 44:02:02 PPMM 66380_Cristiano380_Cristiano & CCoen.inddoen.indd iiii 006/06/206/06/20 44:02:02 PPMM Experimental and Independent Italian Cinema Legacies and Transformations into the Twenty-First Century Edited by Anthony Cristiano and Carlo Coen 66380_Cristiano380_Cristiano & CCoen.inddoen.indd iiiiii 006/06/206/06/20 44:02:02 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © editorial matter and organisation Anthony Cristiano and Carlo Coen, 2020 © the chapters their several authors, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 7403 0 (hardback) ISBN 978 1 4744 7405 4 (webready PDF) ISBN 978 1 4744 7406 1 (epub) The right of Anthony Cristiano and Carlo Coen to be identified as the editor of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66380_Cristiano380_Cristiano & CCoen.inddoen.indd iivv 006/06/206/06/20 44:02:02 PPMM Contents List of Figures vii Notes on Contributors x Acknowledgements xii Introduction 1 Anthony Cristiano and Carlo Coen 1 Filmmaker and the Milanese Independent Cinema of the 1980s and 1990s 41 Donatella Maraschin and Paola Nasini 2 Light and Liminal: Marinella Pirelli’s Cinema 68 Matilde Nardelli 3 From Vertov to Cine-Journals: Cesare Zavattini’s Experimental Journey 84 Carlo Coen 4 Gianfranco Brebbia: The ‘Absurd’, Expanded Quality of Experimental Cinema (1962–73) 103 Donatella Valente 5 Italian Family Films: The Case of the Archivio Nazionale di Bologna 131 Laura Ceccarelli 6 Independence as Opposition? Redefining Political Cinema Through the Case of Mirko Locatelli 141 Gloria Dagni no 7 Travelling the World: The Essay Films of Massimo Bacigalupo (1968–77) 158 Donatella Valente 8 Tales of Courage: Trade Stories of Italian Independent Cinema 180 Edward Bowen 66380_Cristiano380_Cristiano & CCoen.inddoen.indd v 006/06/206/06/20 44:02:02 PPMM vi CONTENTS 9 Niccolò Bruna’s Ethical Process as Social Engagement: Upholding Human Stories against a Backdrop of Globalisation 202 David H. Fleming and Filippo Gilardi 10 The Paradox of ‘Independence’ in Cyberspace: The Case of Italian Experimental and Independent Cinema 216 Anthony Cristiano Index 264 66380_Cristiano380_Cristiano & CCoen.inddoen.indd vvii 006/06/206/06/20 44:02:02 PPMM Figures 2.1 From Film ambiente (1969) installation of 2013 69 2.2 From Film ambiente (1969) installation in Rome of 1969 74 2.3 Preparatory diagram for Film ambiente (c. 1968) 77 2.4 Detail from Film ambiente (1969) 79 4.1 and 4.2 Idea assurda per un filmaker. Luna (An Absurd Idea for a Filmmaker. Moon, 1969) 105 4.3 Anno 2000 (Year 2000, 1969) 106 4.4 Extremity 2 (1968) 106 4.5 and 4.6 Identificazione (Identification, 1965) 109 4.7 Bet (1972) 110 4.8 Bazar (1973) 110 4.9 Idea assurda per un filmaker. Luna (An Absurd Idea for a Filmmaker. Moon, 1969) 111 4.10 Dall’archivio di Gianfranco Brebbia (From Gianfranco Brebbia’s Archive) 112 4.11, 4.12 and 4.13 Deserto in luce solare (Desert in the Sunlight, 1969) 113 4.14 and 4.15 Idea assurda per un filmaker. Luna (An Absurd Idea for a Filmmaker. Moon, 1969) 114 4.16 and 4.17 Idea assurda per un filmaker (An Absurd Idea for a Filmmaker. Ester, 1969) 115 4.18 and 4.19 Idea assurda per un filmaker (An Absurd Idea for a Filmmaker. Matilde, 1969) 115 4.20 Bet (1972) 117 4.21 Bazar (1973) 117 4.22 and 4.23 Ufo (1968) 118 4.24 and 4.25 Fumus Art (1969) 119 4.26 and 4.27 Terra (Earth, 1971) 122 7.1 60 metri per il 31 marzo (200 Feet for March 31st, 1968) 162 7.2 and 7.3 Versus (1968) 163 66380_Cristiano380_Cristiano & CCoen.inddoen.indd vviiii 006/06/206/06/20 44:02:02 PPMM viii FIGURES 7.4 Her (1968) 166 7.5 L’Ultima Estate (The Last Summer, 1969) 168 7.6 Né Bosco (una conversation) (Nor Wood (A Love-dialogue), 1970) 168 7.7 Migrazione (Migration, 1970) 169 7.8 Coda (1970) 169 7.9 Warming Up (1973) 172 7.10 Into the House (1975) 173 10.1 From left to right: Futurists Luigi Russolo, Carlo Carrà, Filippo Tommaso Marinetti, Umberto Boccioni, Gino Severini. Paris, 9 February, 1912 220 10.2 CCI members photographed by Luca Maria Patella. From left to right: Gianfranco Baruchello, Rosa Foschi, Massimo Bacigalupo, Guido Lombardi, Luca Patella (at the moment of taking the fish-eye photograph), Giorgio Turi, Alfredo Leonardi, Celestino Elia, Antonio Vergine, Adamo Vergine 222 10.3 Fondazione Cineteca Italiana (Milano) 223 10.4 National Film Library, Rome. Archivio Fotografico Cineteca Nazionale. Centro Sperimentale di Cinematografia, Roma 225 10.5 Tempo nel tempo (Time in Time, 1964) by Bruno Munari, Marcello Piccardo 227 10.6 E nua ca simu a forza du mundu (And We Who Are the Force of the World, 1971) by Alfredo Leonardi, Anna Lajolo, Guido Lombardi 229 10.7 Verifica incerta (Disperse Exclamatory Phase, 1964) by Gianfranco Baruchello, Alberto Grifi 232 10.8 La riappropriazione della città (The Re-Appropriation of the City, 1977) by Ugo La Pietra, Centre Pompidou Edition 234 10.9 and 10.10 60 metri per il 31 marzo (200 Feet for March 31st, 1968) by Massimo Bacigalupo. The representation with zoetrope is from Max Ernst’s 1930 illustrated book Rêve d’une petite fille qui voulut entrer au Carmel (Dream of a Girl Who Wanted to Join the Carmelites). 236 10.11 Es-pi’azione (Ex-pi’action, 1968), a directorial formulation by Adamo Vergine. The drawing is described and found in ‘Adamo Vergine’, in ‘Il film sperimentale’ by Bacigalupo 238 10.12 Hilarisdoppio (1973) by Paolo Gioli 240 10.13 Frame from Dove incominciano le gambe (Where the Legs Begin, 1974) by Piero Bargellini 241 66380_Cristiano380_Cristiano & CCoen.inddoen.indd vviiiiii 006/06/206/06/20 44:02:02 PPMM FIGURES ix 10.14 Stop Forgetting: The Films of Yervant Gianikian and Angela Ricci Lucchi (2015) 243 10.15 Façade of ‘Azzuro Scipioni Cinema’ in Rome 244 10.16 Frame from Egg One Egg Zero (1972) by Cioni Carpi 246 10.17 Distribution of YouTube video views, 2018. Sourced from Pex, Medium © Statista, <statista.com>. 248 10.18 Distribution of Italian video views, 2018. Data is partly sourced from ISTAT ‘Internet Italia 2018’, and from average YouTube views over a 5-year period of several films reference in the anthology. 249 66380_Cristiano380_Cristiano & CCoen.inddoen.indd iixx 006/06/206/06/20 44:02:02 PPMM Notes on Contributors Edward Bowen is an Advanced Lecturer of Italian at the University of Kansas. He specialises in Italian film history, exhibition and urban stud- ies. He co-edited the volume The Cinema of Ettore Scola (Wayne State University Press, 2020) and he has published articles in Studies in Documen- tary Film, Journal of Italian Cinema and Media Studies and Cinema e storia. Laura Ceccarelli specializes in Archival disciplines and is Head of Euro- pean Projects Office of Experimental Center of Cinematography (Italy). She is a member of the Italian National Archive Association. Carlo Coen holds a PhD in Italian Studies from the University of Toronto and has several publications to his credit on Italian and Indian Cinema. He has delivered lectures in Canada, Italy, the USA, India and Australia. At present he is the Director of Programming of the Italian Contemporary Film Festival. Anthony Cristiano is lecturer in the Digital Media, Journalism, and Communication program at Wilfrid Laurier University. His research interests include media ethics and cultural history. He is the co-editor of Millennials and Media Ecology (Routledge, 2020), and the author of the forthcoming ‘Artificial Intelligence and Ultimate Reality’ (University of Toronto Press). Gloria Dagnino is adjunct lecturer in Film Economics at the Insti- tute of Media and Journalism of the Università della Svizzera italiana (USI—Lugano, Switzerland). She is also Equal Opportunities Officer at USI. Her research interests include the political economy of audiovi- sual media, advertising and media convergence, and contemporary Italian film industry. 66380_Cristiano380_Cristiano & CCoen.inddoen.indd x 006/06/206/06/20 44:02:02 PPMM NOTES ON CONTRIBUTORS xi David H. Fleming is Senior Lecturer in Film at the University of Stir- ling, Scotland. His research interests surround the intersections of cin- ema, philosophy and technology. He is the author of Unbecoming Cinema: Unsettling Encounters with Ethical Event Films (Intellect, 2017), and co- author with William Brown of The Squid Cinema from Hell (EUP, 2020), and with Simon Harrison of Chinese Urban Shi-nema (Palgrave, 2020). Filippo Gilardi is an Associate Professor in Creative Industries and Trans- media, the Head of the School of International Communications, and the Deputy Director of the Institute of Asia and Pacific Studies (IAPS) at the University of Nottingham Ningbo China. He is also a Principal Fellow of the Higher Education Academy and a Fellow of the Royal Society of Arts. Donatella Maraschin is an independent researcher with expertise in Italian cinema, the development of storytelling on the digital platform and digital health.
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    Golan/Curriculum Vitae 1 Romy Golan Ph.D Program in Art History The Graduate Center, City University of New York 365 Fifth Avenue, New York, NY 10016-4309 email: [email protected] CURRICULUM VITAE Education: Ph. D. Courtauld Institute of Art, University of London, England, 1989 Dissertation: "A Moralized Landscape: The Organic Image of France Between the Two World Wars" M.A. Courtauld Institute of Art, University of London, 1982 (Thesis: "Roberto E. Matta, 1937-1947: The Last Phase of Surrealism") M.A course, History Department, Tel Aviv University, Israel, 1981 (Thesis: "Ideological Paradoxes in Nazi Architecture") B.A. Courtauld Institute of Art, University of London, 1980 Enrolled in Bezalel School of Fine Arts, Jerusalem, Israel, 1976-77 French Baccalaureat. Lycée Français Chateaubriand, Rome, Italy (with honors), 1976 Awards and Fellowships: -I Tatti, Harvard University Center for Italian Renaissance, Florence (Fall 2018) -Italian Academy of Columbia University Fellowship (2014) -Sterling and Francis Clark Art Institute Fellowship (2013) -Samuel and Ronnie Heyman Prize for outstanding scholarly publication by Junior Faculty Members of the Humanities at Yale for Modernity and Nostalgia: Art and Politics in France between the Wars (1995) -Frederick W. Hilles publication grant (1994) -A. Whitney Griswold Faculty Research grant (1993) -Henry Allen Moe Prize for Catalogues of Distinction in the Arts for co-authorship of The Circle of Montparnasse: Jewish Artists in Paris 1905-1945 (1985) -Distinction for M.A thesis, Courtauld Institute
  • Wenders Has Had Monumental Influence on Cinema

    Wenders Has Had Monumental Influence on Cinema

    “WENDERS HAS HAD MONUMENTAL INFLUENCE ON CINEMA. THE TIME IS RIPE FOR A CELEBRATION OF HIS WORK.” —FORBES WIM WENDERS PORTRAITS ALONG THE ROAD A RETROSPECTIVE THE GOALIE’S ANXIETY AT THE PENALTY KICK / ALICE IN THE CITIES / WRONG MOVE / KINGS OF THE ROAD THE AMERICAN FRIEND / THE STATE OF THINGS / PARIS, TEXAS / TOKYO-GA / WINGS OF DESIRE DIRECTOR’S NOTEBOOK ON CITIES AND CLOTHES / UNTIL THE END OF THE WORLD ( CUT ) / BUENA VISTA SOCIAL CLUB JANUSFILMS.COM/WENDERS THE GOALIE’S ANXIETY AT THE PENALTY KICK PARIS, TEXAS ALICE IN THE CITIES TOKYO-GA WRONG MOVE WINGS OF DESIRE KINGS OF THE ROAD NOTEBOOK ON CITIES AND CLOTHES THE AMERICAN FRIEND UNTIL THE END OF THE WORLD (DIRECTOR’S CUT) THE STATE OF THINGS BUENA VISTA SOCIAL CLUB Wim Wenders is cinema’s preeminent poet of the open road, soulfully following the journeys of people as they search for themselves. During his over-forty-year career, Wenders has directed films in his native Germany and around the globe, making dramas both intense and whimsical, mysteries, fantasies, and documentaries. With this retrospective of twelve of his films—from early works of the New German Cinema Alice( in the Cities, Kings of the Road) to the art-house 1980s blockbusters that made him a household name (Paris, Texas; Wings of Desire) to inquisitive nonfiction looks at world culture (Tokyo-ga, Buena Vista Social Club)—audiences can rediscover Wenders’s vast cinematic world. Booking: [email protected] / Publicity: [email protected] janusfilms.com/wenders BIOGRAPHY Wim Wenders (born 1945) came to international prominence as one of the pioneers of the New German Cinema in the 1970s and is considered to be one of the most important figures in contemporary German film.