AIC, 1988 - AIC Associazione Italiana Autori della Fotografia ...

AIC
"Luci lontane" di Renato Tafuri
audiovisiva diffusa.
Il contegno di molti di noi non
può più esprimere, comunque,
l'incertezza e l'esitazione della
generazione confine tra
un'eredità di un passato recente
che, con i suoi riti e i suoi miti,
ancora ci strugge e le lusinghe di
un futuro che, con satelliti,
videodischi, video-fiction,
immagini ad alta definizione,
immagini laser e ologrammi, ci
disorienta.
E pur vero che la letteratura, la
musica, la pittura e il teatro non
godono migliore salute del
cinema, riscontrato che il malato
vero è la nostra cultura tutta.
Nell'attesa dell'auspicabile
ridefinizione e applicazione di
una nuova politica culturale
generale, capire i meccanismi
attraverso cui agisce qualsivoglia
comunicazione visiva significa
fare la nostra politica. Non
tentare di capirli porta a fare
una politica sbagliata.
Arricchirsi di una propria teoria
della tecnica della sfigurazione,
di una propria dottrina rispetto
alla creazione, conservazione ed
erogazione delle immagini e di un
propria cultura della luce vuole
indicare per noi essere tra i
protagonisti della comunicazione
visiva che determina, ancora più
sottilmente e più a fondo di
quella verbale, la struttura della
nostra consapevolezza di
contemporanei.
E errato supporre che le
immagini rappresentino in modo
diretto gli oggetti, le cose e le
persone o che corrispondano agli
oggetti, alle cose o alle persone.
"Le immagini corrispondono ai
pensieri". I caratteri che le
connotano corrispondono alle
leggi del pensare e alle affezioni
dello spirito di chi pensa.
In reality, the relationship between
light, shade, colour and form is casual
and transitory, to the point of seeming
almost illusory. It is mainly the
Director of Photography who,
"reasoning" the light, chiaroscuros,
colour and composition transforms
each scene into a kind of dream: that
particular combination of visual
elements, feelings, meaning and
phantasms known as Cinema.
Our way of thinking and behaving is
modified by the images to which we
are most often exposed. It is, in fact,
those images which persuade,
indoctrinate or seek to admonish us
which colour our souls.
Certain formal and, ideed, substantial
changes enter into the "interpretation"
of a film's meaning when it is viewed
on television for which, in effect, it was
neither conceived nor planned.
We would do well to define exactly
what we mean by "cinematographic
image" at this point: certainly not the
isolated image on the screen, but
rather the combination of audio-visual
elements that bring a "concept of
reality" alive in our psyche, by
projecting it onto a screen immersed in
the dark.
In 1989, the Olympus satellite will
become operative, via which Italy will
have the possibility of transmitting
direct and reaching every single viewer
in a "transmission field" extending way
beyond our national frontiers.
In this type of image "hypermarket" —
and there are many — which is destined
to become increasingly more
transnational, and which illude us into
believing they are bringing us closer to
other nations when in reality they are
widening the gap, it is the great
multinationals and aggressive
American and Japanese companies
which predominate and wield the
power, and the logic behind their
winning over audiences that can only
be described as infinite, finishes by
destroying their individuality,
traditions and language.
The Italian cinema, having to conform
to the above standards, rather than
create, is forced to produce films almost
exclusively for television viewing.
Should this situation prevail without
our recognizing that the cinema is
tremendous "social benefit" — and in
doing this, ensuring its survival — and
permitting it to requalify its role as one
of today's important sources of culture,
it is not difficult to predict that the
creation of "serial" product will soon
result in the degeneration of its
"serialism".
The fate of the photography is
indissolubly linked to that of the film
itself. In fact, the steadfastness with
which we Directors of Photography
defend the quality of our work and our
identity as "authors", will keep the
space for new ideas open, and the
margins well-defined within which the
audience, Auditel and ratings now
exercise the artistic and cultural
influence that was previously exercised
by the box-office, distributors and
exhibitors.
It it one of the AI.C's ("Associazione
Italiana Autori della Fotografia")
principal aims to preserve the
particular characteristics of the
cinematographic image, communicated
best to the audience in the way in
which it was originally intended. It is
our further aim to defend the
audience's right to enjoy a film to the
fullest extent.
Another consideration which has to be
made regarding the cinematographic
image, concerns television's
indiscriminating transmission of
heterogenous "product": in this