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

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AIC "Luci lontane" di Renato Tafuri instance, cinematographic images, which can formally be termed "expressive", are interspersed with those of the publicity spots, news and current affairs programs, shows and quizzes, which tend, on the whole, to be either "communicative" or "entertaining", with the result that the cinematographic images no longer function as a "reference". When the cinematographic images have been assimilated, comparisons can no longer be made, and they are no longer thought-provoking or stimulating, it will tend to render all the images similar and their messages indistinguishable. Besides this, the images as we are used to seeing them in the cinema combine to form unique figurative whole. Their "paging", or rather their sequence and way in which they appear, is also of particular importance. There is no absolute quality of light or colour, no absolute size or form, in that each image acquires its particular quality through its dynamic interrelationship with the images that both precede and follow it. Often an image will communicate more of what has actually been left out of it, than that which is seen. Furthermore the continuous dialogue which can be established between the image and the audience in the cinema, is constantly interrupted when a film viewed on television, by the fortuitous and unrelated daily events that constantly occur in the viewer's world. It only takes just one of these daily happenings to interrupt the viewing, suspending and throwing out the time/space relationship of the images as it was specifically conceived to communicate the film's message. The fact that the viewing can be interrupted by a series of outside events, breaks the viewer's concentration, and prevents the image from stimulating thought or "transfert" taking place. What seems even more serious to me, is the fact that television exerts a negative influence on the film's visual language, causing it to regress and progressively deteriorate from "poetry" into "slang". We Directors of Photography are coming to the movie theatre's defence to see that it survives as the one and only place for a film to be shown: first, because it is only here that the film is seen under perfect conditions and therefore communicated to the full; and second, because it is the place where our creativity and professional identity have their most natural expression. While the cinema's role in society — which has overtaken it with positive and negative results — is being redefined, it is our duty as Director of Photography to decide exactly where we stand. Being culturally autonomous, the cinema is considered something of a rebel medium which cannot therefore exploited to either win over audiences or create status. So, the "centres of power", in order to gain both political and economic advantages use "other" images to influence the public either socially or ideologically, bombarding them with symbolism which penetrates, conditions and sustains the current social reality. The fact that we have to make a choice will be confirmed — should there still be any need — in 1989 when, somewhat apprehensively and with a certain amount of suspicion we look out of "our window onto the video wonderland of the future" — as its promoters, the Milan City Council, unhesitatingly refer to it. The "Ministero del Turismo e Spettacolo", "RAI Radio Televisione Italiana", the "Confcommercio" and Ente Gestione^Cinema, together with the Milan City Council, are still involved in the organization of their video wonderland project, which virtually ignores the cinema, and concentrates on promoting — in accordance with the desire of the political forces championing said project — new technology that will foster the quantitative and qualitive growth of the audio visual industry. Many of us cannot help but express, however, the hesitation and doubt of a generation that, on the one hand, has inherited the traditions and myths of its predecessors, to which we are still deeply attached; and on the other hand, finds itself facing a future with all manner of technological enticements set before it, such as video discs, video-fiction, high definition, laser and holographic images and satellites, that can only leave us feeling disoriented. It is also true that literature, music, art and the theatre are in the same unhealthy state as the cinema, as it is our culture itself that is ailing. However, while we are waiting for the much needed redefinition of cultural politics, and their application, we have to seek to understand the workings of audio-visual communication and conduct our own politics. If we don't, it's like abstaining from voting. Evolving our own theories regarding the technique of figurative representation; our own doctrines regarding the creation, conservation and communication of the image; and amassing a vast knowledge of the light itself, means that we will be among the protagonists of visual communication which is responsible for creating, in a more subtle and yet profound way than its verbal counterpart, our basic awareness as contemporary citizens. It is a mistake to believe that images merely represent objects, things or people, or that they conform to them. "Images conform to thoughts." Their particular characteristics conform to the laws which govern thought and the spiritual feelings of their creator.
AIC D A M Kodak è soprattutto tecnologia ai massimi livelli, Una tecnologia che permette di avere sempre prodotti estremamente avanzati, che anticipano le esigenze del mercato. Per questo le pellicole Eastman per Cinematografia Professionale sono sempre al passo con i tempi. Anzi, più avanti.
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Page 3 and 4: AIC Muchos anos después, frente el
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Page 7 and 8: AIC Realizzazione e redazione MARIO
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Page 11 and 12: AIC 91 CINQUE ANNI DI PROGRAMMAZION
Page 13 and 14: AIC producers have (especially in I
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Page 17 and 18: AIC Partirei dall'idea che l'immagi
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Page 21 and 22: AIC Bordeu. "Cosa circoscrive la vo
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Page 25 and 26: AIC ; » t®' ' WM mm i L'IMMAGINE
Page 27 and 28: AIC Ci sono giorni in cui penso sia
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Page 31 and 32: AIC "One from the heart" di Vittori
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Page 35 and 36: AIC Oggi i più hanno (o pensano di
Page 37 and 38: AIC continuino a coesistere, in cer
Page 39 and 40: AIC Lino asino fu già, ch'ogni oss
Page 41 and 42: AIC Immagine da computer graphic di
Page 43 and 44: AIC LA PROSPETTIVA ... anni, paiono
Page 45 and 46: AIC la lente, il microscopio, il te
Page 47 and 48: AIC addensamenti di energia resti u
Page 49 and 50: AIC Movie People: agile e dinamico
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Page 63 and 64: AIC Cominciamo con un paradosso. Da
Page 65 and 66: AIC ^IMMAGINE E L'ANGOSCIA 61 Io ri
Page 67 and 68: AIC modem cameras. We cannot afford
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Page 71 and 72: AIC I PIÙ TIRANO I MENO (proverbio
Page 73 and 74: AIC cinematografica medesima. La ma
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Page 79 and 80: AIC EASTMAN. NEL NOME DEL COLORE. U
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Page 85 and 86: AIC L'IMMAGINE E L'ANGOSCIA La gola
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Page 91 and 92: AIC Nel frattempo i cittadini dovra
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Page 95 and 96: AIC Giunto al quinto anno di progra
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AIC COLLEGIO DEI PROBIVIRI Armando
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IVO GRIPPO Via Tuscolana 1055, 0017
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AIC GIUSEPPE MODICA Quantunque il l
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AIC L'IMMAGINE E Gli AUTORI ROMANO
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AIC ARMANDO NANNUZZI
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AIC TONINO MACCOPP1 SANDRO D'EVA Fo
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AIC CESARE ALLIONE Me stato chiesto
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AIC DANIELE NANNUZZI Il giovane Tos
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AIC ROBERTO D'ETTORRE PIAZZOLI Non
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AIC GIANFRANCO TRANSUNTO È la luce
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AIC CLAUDIO CIRILLO Lux anima rerum
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AIC ROBERTO SALMI L'immagine è il
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AIC "L'ultimo imperatore" di Vittor
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AIC evoluzione figurativa del lungo
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AIC avanti e indietro, come a somma
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AIC segment of the Film would relat
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AIC Molti chiedono come si diventi
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AIC maggior collaboratore del regis
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AIC Capivo che, nell'inquadratura f
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AIC Dalle esigenze artistiche di al
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AIC Ancora oggi se ci capita di ved
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AIC reality became one. Even now th
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AIC recommended me to Federico Fell
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AIC Ci ricordava Francois Truffaut
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AIC Com e noto, la troupe cinematog
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AIC
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AIC "Sudan subacqueo" di G. Lorenzo
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AIC E volentieri che faccio mia una
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AIC lavora ancora a tardissima età
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AIC of the "product". And then ther
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AIC Allo scoppio della seconda guer
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AIC audience that extended across f
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AIC A 78 anni ALDO TONTI é morto i
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AIC I teatri della De Paolis sulla
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AIC V DE P AOL IS - INC IR INDUSTRI
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AIC confidenze, a volte non troppo
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AIC Immagine e letteratura LORENZO
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AIC movie era, written by some of i
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AIC LA TUA FIGURA, UN RICORDO Un di
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AIC A proposito del film di Tovoli
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AIC LA MODA DELL'AVVENIRE Calendari
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AIC A.A.I.M.A. ROMA Via Aurelio 332
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AIC l'IT A H A OSI 81C0M SICIHOBIOH
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AIC Quale un fanciullo, con assidua
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AIC Si ringraziano G. Franco Borgio
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AIC, 1988 - AIC Associazione Italiana Autori della Fotografia ...

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