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

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AIC turno: milioni di spettatori valgono tot milioni di pubblicità.' "Se questo è un uomo..." verrebbe da dire parafrasando il libro di Primo Levi. Da questo punto di vista, perciò, e se la televisione continuerà a essere quello che è, non credo che da essa ci si possa attendere altro che un impulso, indispensabile ma incontrollabile, alla ricerca di carattere appunto tecnologico, e un aiuto, encomiabile, di carattere finanziario, nella produzione di immagini cinematografiche. E inutile definire il cinema, anzi il Cinema, con frasi troppo intellettualistiche. Il Cinema è la Vita, la nostra vita, non solo perché a noi in modo specifico dà da mangiare, ma soprattutto perché parla, descrive, si confonde con l'esistenza nostra di tutti i giorni. In molti casi ci fa tornare a provare sentimenti che temevamo di non più riconoscere. Ci stupisce di noi stessi, ecco il miracolo! Se, come afferma il Professor Kenneth Mortimer dell'Università di Pennsylvania, autore, insieme ad altri scienziati, di un rapporto sull'educazione universitaria negli Stati Uniti, "la tecnica è per definizione negazione di ogni verità definitiva, la civiltà occidentale è destinata all'angoscia più radicale". Noi non abbiamo bisogno di verità definitive, non aspiriamo a tanto, ma certo abbiano bisogno di ciò che solo il Cinema sembra in grado di offrirci: un po' di bellezza, di poesia, nella nostra esistenza quotidiana. Il che equivale a dire, per quanto riguarda l'immagine, che il Cinema è l'unico mezzo in grado di conferirle senso e coerenza. Non credo che, data la crisi ormai cronica del cinema italiano, il suo encefalogramma piatto possa essere rivitalizzato da altro che da uno sforzo di creare quel cinema di qualità unico in grado di richiamare il pubblico nelle sale cinematografiche. Alcuni registi e produttori operano in questo senso, e va loro la nostra stima. A noi, in quanto operatori cinematografici, si richiede di essere tecnici specializzati, ma profondamente consapevoli di quanto appena discusso. Ne va della nostra umanità e dei nostri sentimenti e, rispetto a tanto, il resto è veramente silenzio. Let's start with a paradox. For some time now, sociologists over here has done nothing eke but tell us we are no longer masters of something that should essentially be ours: our own awareness. And when they use the word awareness, they don't only mean our capacity to work out intellectually adequate answers to the stimuli we receive from the outside world, but are referring, above all, to our capacity to feel, see and listen. In short, our capacity to be: our being men (or women, as they too must be included in this). To be deprived of our individuality to such an extent, and to be incapable of relating to the world around us to an even greater extent, means being reduced to a mere shadow, a fake human being, a mask behind which we even hide from ourselves. Because at this point we no longer need to think, or even suffer, but become mere "objects", the roles and functions of which are determined not by ethical values or human understanding, but by pure casualness and mere eventuality, beyond which it is impossible to progress and which would seem to be exempt from criticism. And while the individual shatters into a thousand meaningless pieces (or so it would appear) he — who according to the experts, would be the ordinary man, and so could, I fear, quite easily be a focus puller, assistant cameraman, cameraman or director of photography — would find himself living in what would amount to a state of numb anguish, asking himself questions like: what sense does my life have? why do I keep going? for whom? Our lack of awareness of this disturbing state of affairs might even be excusable — after all, isn't money the only thing that counts, nowadays? don't you judge a man by his bank balance? isn't success the only thing that's important today ? — if it wasn't thrown in our faces daily by desperate and tragic acts such as the following: a short while ago, four youths committed suicide in Aquisgrana, leaving behind them a note, the gist of which was: "We're never going to make it in this life, so why bother?" This life we have to live, as Godard would have said. Who, or what, is responsible for all this? A ghost is rattling its chains around the world, a ghost nobody can catch, because it is we, who work in its particular field, who have in certain instances even gone as far as mythicizing it. It's name is Technology, and with its researching, and working hand in hand with science, it constantly strives to create a compartmentalized world — if "world" is the correct word — in which each individual is specialized in a particular field, has his own specific role, but is not permitted to ask himself too many question like: in what way does my specific professional function relate to that of others? what significance does my work have? what and/or whom does it benefit? In short, the professional man of the Eighties is required solely to man his post, and look on his technical and professional capacities as the only ones that qualify him as a man rather than consider them just apart of his qualities. In this way, man becomes his own technician, the technician of his feelings, utilizing his emotions and awareness like a computer utilizes its transistors. The rest doesn't count — "the rest is silence". All he has left is his habits, but habits which are cultivated by his almost exclusively "frequenting" the T.V., instead of his fellow human beings. No more History, no more Poetry, no more Memories and no more Feelings, only — and this is the paradox that specifically concerns us — Images... Of every kind and colour, dazzling and sumptuous, dismal and dull! However, the disquieting thing about them is that they reproduce themselves constantly and are completely devoid of meaning! I know this is going to be hard for some people to take, and they are going to be offended to hear their beloved T.V. maligned in such a way; but, alas, "reality is reality", as the philosopher would observe sagely. One also has to agree with Alexander Kluge when he affirms; "new technologies, industrial trusts and censors are working together to create a new awareness in man" — but they are creating it on the principal of the photocopier, so that one person's awareness will be identical to that of another. Speaking of T.V., and also cinema, one hears people defining the difference between the two as the cinema's being more spectacular. 1 have no objection to this, as long as the word "spectacular" is used with caution and in its precise sense. Because when a "spectacular" image becomes a technological end in itself, both its aesthetic and moral value is sacrificied and it becomes — at best — inexpressive, and often silly and vulgar, even though it still manages to "captivate". It is extremely damaging for the image to be equated with technology in this way, as it reduces it to serving, that same technology which dazzles and amazes us with its miracles as if it were thr new Messiah. When our lives become totally identifiable with the image, we are, on the one hand, projecting ourselves in a technicolour dream which is alluring, yet also illusory and unreal — however, no harm done so far, as dreaming is a part of our lives, and we are all still free to do so — but, on the other hand, it sets in motion a strange psychological process which is decidedly negative, in which our virtually direct contact with the world around us is diminished, and our natural behaviour patterns are replaced by artificial ones based on a type of "automatic functioning created jointly by science, applied technology and industrial expoitation" (Barcellona). Thus, the human being is reduced to a number, a quantifiable "audience" which, when it reaches the astronomical proportions of the private T.V. audience becomes a commodity which both T.V. and sponsors bargain with in turn: "x" amount of viewers for "x" amount of publicity. "If this is man..." one finds oneself commenting, paraphrasing Primo Levi. Looking at it from this point of view, and given that television continues to function on these lines, I don't think we can expect anything more from it than its acting as an essential but ungovernable stimulant to technological research — which will also improve the cinematographic image — and its making a praise worthy financial contribution to cinema production. It is useless trying to define Cinema with highly intellectual phrases. Cinema is Life, our lives, not only because we make our living in it, but, above all, because it speaks to us, tells us things and is part of our daily existence. Many times it allows us to experience emotions we thought we'd never experience again. The Cinema allows us to amaze ourselves constantly — and this is indeed a miracle!. Professor Kenneth Mortimer of the University of Pennsylvania has compiled a report, with a number of other scientists, on universitary education in the United States, and if it is true, as he affirms, that: "Technobgy is, by its very definition, a negation of every definitive truth..." then "western civilization is certainly destined to live in a state of perpetual anxiety". We can, in fact, do without definitive truths — I don't think we could ever aspire to so much — but we do have a great need of that which only the Cinema seems able to offer: a little glamour to brighten up our lives, and a little poetry to enrich them. Which is the same as saying that the Cinema is the only medium capable of creating an image that is both expressive and meaningful. Given the extreme crisis the Italian Cinema finds itself in, I think the only way its brain can be resuscitated and the peaks put back in its encephalogram, is for it to go all out create quality cinema, which is the only kind that will bring the public back into the movie theatres. Some producers and directors are already effecting this "cure" and they have all our respect. We cameramen are required to be specialized technicians, but we also have to profoundly aware of technology's compromising effect on the image. We stand to lose both our capacity to feel and our humanity, and if that happens, the rest really will be silence.
AIC ^IMMAGINE E L'ANGOSCIA 61 Io ricordo quei giorni: dell'ignoto mattino ove a svegliarci era il terrore d'esser rimasti soli, udivo il cielo come una voce morta. E già la luce abbandonata dai morenti ai vetri mi toccava la fronte, sui capelli lasciava l'orma del suo sonno etemo. Un grido umano che s'udisse, nulla — solo la neve — e tutti erano vivi dietro quel muro a piangere, il silenzio beveva a fiumi il pianto della terra. Oh, l'Europa gelata nel suo cuore mai più si scalderà; sola coi mori che l'amano in eterno, sarà bianca senza confini, unita dalla neve. Alfonso Qatto
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AIC ASSOCIAZIONE ITALIANA AUTORI DE
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AIC Muchos anos después, frente el
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AIC ASSOCIAZIONE ITALIANA AUTORI DE
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AIC Realizzazione e redazione MARIO
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AIC 91 CINQUE ANNI DI PROGRAMMAZION
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Page 35 and 36: AIC Oggi i più hanno (o pensano di
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Page 49 and 50: AIC Movie People: agile e dinamico
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Page 91 and 92: AIC Nel frattempo i cittadini dovra
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Page 105 and 106: IVO GRIPPO Via Tuscolana 1055, 0017
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Page 113 and 114: 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 "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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