<strong>AIC</strong> the observation made by the author of this article, that the British Cinema, even though beset by crises and difficulties, is currently producing a vast number of films and undergoing a renaissance we have scarcely begun to embark on, and which is a result of the tremendous enthusiasm and pride of British cinema workers, was immediately countered with the remark that attendance in British cinemas has fallen considerably. And this is the mistake we are making: judging the progess of a country's Cinema merely on theatre attendances. If this was valid thirty years ago, it certainly isn't today when, as the champions of the new technologies are well aware, cinema is mostly enjoyed on television. Esplosione di angeli di Giuseppe Pinori One can only judge a Cinema as being efficient on the quantity and, above all, the quality of the films it produces; and the image that those films create abroad. Admittedly, attendances have fallen in the British cinemas, but their studios are working flat out, their laboratories are not only extremely busy but extremely efficient, and films with the "Made in England" label are invading the world market and giving American product a run for its money. Besides this, anyone who follows the Cinema market, will have also realized that British films are making considerable inroads in Italy. Today, economic analyses are effected in a way that is totally pragmatic, starting with an abstract model that has never been tested in depth, and is based on profit and loss statistics compiled by "illiterate functionaries" (UNESCO's definition of executives who rely calculators and computers to do everything). Many Italian managers believe that our economy is self-regulating without realizing that the productivity levels imposed by this system result in the companies who create product experiencing grave crises, going bankrupt, resulting in some cases, in entire industries being wiped off the map. In short, our managers pursue a policy of waste. These things happen mainly in weak economies especially when, as in the case of the Italian Cinema, they find themselves having to compete with stronger economies that are better defended. The Italian Cinema will be put to the test in 1992. What can we do to prevent its image from falling flat on its face? The economic theorists, who truly believe that man has entered the "homo economicus" phase, all give a sly little smile when one expresses a need to defend one's culture. They do not understand that the two things are mutually supportive, and that even the imposing of one language upon another is motivated by "profit". In order to put our cinema back on its feet, we first have to strengthen production, to equip it for the future that awaits. We have to improve the quality of our "product", make it more competitive. But first, we have to streamline the production structure, eliminating those "aspects" incapable of drawing on the vast cultural heritage of this country and using it to our advantage. A production staff must be created, which is not interested in money for money's sake, but which is neither too mean to spend it, nor inclined to squander it on risky enterprises. We have to study the more powerful cinema industries, but without imitating them or allowing ourselves to 1 be dominated by their cultural imperialism. We have to learn from them in order to increase our technical knowledge and expertise, in order that we might create films worthy of the .name. And in our efforts to improve, we have to avoid films that are too "experimental", as some organizations have done in the past as, for the most part, there is no future in them, and they don't earn money. It abo means that we have to avail ourselves of the most up to date technnical equipment, for normal shooting and abo for the 65 and 70 mm. screen: from cameras to printing equipment, and, why not, from the theatres to the various post production facilities. We have to develop equipment for creating special effects which, if put together with our customary know-how, will be neither over-costly nor difficult to use, and will abo render us autonomous in this area. We finally have to ensure that the financial assistance granted reaches its proper destiny, and doesn't get lost in the maze of red tape. Above all, we have to create a staff with considerable experience and knowledge of the cinema, capable of coming up with creative ideas wich they are permitted to realize. Last but not least, we have to rectify that which caused not only the stasis in our cinema, but also the exodus of some of the best artists and technicians among the best in the world. The cause of this "brain drain" does not merely lie in our continuing to apply the economics applied to our cinema in the past (which, in effect, resulted in the Italian Cinema reaching heights it had never before attained), nor was it destined to happen, but it happened because the people involved were no longer able to experience that feeling of real participation and felt that the power of our cultural organizations had ceased to work for them. Unfortunately, this can abo be said for other sectors of our economy. Today, the above ideab have been hastily cast aside in our desperate attempt to hitch our ideas and aspirations to foreign wagons. But we have forgotten that it is these same ideab that communicate incredible energy to a people, and are able to increase productivity far more than any political or economic alchemy. Without ideab, everything countries becomes sterile and /alls apart, and capital dbappears as quickly as shadows into the night.
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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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AIC producers have (especially in I
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AIC Partirei dall'idea che l'immagi
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AIC Bordeu. "Cosa circoscrive la vo
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AIC enfatizzate e prolungate, per s
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AIC ; » t®' ' WM mm i L'IMMAGINE
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AIC Ci sono giorni in cui penso sia
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AIC Si ringraziano G. Franco Borgio