fondazione centro sperimentale di cinematografia

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FONDAZIONE CENTRO SPERIMENTALE DI CINEMATOGRAFIA
CINETECA NAZIONALE (CN)
ARCHIVIO NAZIONALE DEL CINEMA D’IMPRESA (CIAN)
REPORT 2013
1) Acquisitions of the year
A) Legal deposit: as legal deposit and according to a disposition by law, which obliges companies
receiving a percentage on the box office to deliver us a dupe negative, we acquired prints, dupe
negatives and digital masters of 59 elements on film (among them: Io e te (B. Bertolucci, 2011),
Dracula (D. Argento 2012), La migliore offerta (G. Tornatore, 2012) Educazione siberiana (G.
Salvatores, 2013)) and 137 digital video elements, including HDCAM and DCP, BLURAY DISC and
HARD DISK, among them: La migliore offerta (G. Tornatore, 2013), Via Castellana Bandiera (E.
Dante, 2013), La grande bellezza (P. Sorrentino, 2013).
B) Other forms of acquisition: the CN film archive received on film 21 titles as donations, 28 as
acquired new preservation / restoration elements (7 new circulating prints) and 45 titles
(corresponding to more than 600 items) arrived as deposits, for the most part consisting of original
materials of Italian films from the 70s to the 90s, such as Le farò da padre (A. Lattuada, 1974), Al
di là del bene e del male (L. Cavani,1977), L’ingorgo (L. Comencini, 1977), Malizia (S. Samperi,
1978), Salto nel vuoto and Marcia Trionfale (M. Bellocchio, respectively 1977 and 1980),
deposited by the Italian company Ameuropa, formerly Clesi Cinematografica.
The CN video archive received 317 titles as donations.. The acquisition of digital items in different
formats is increasing: 38 LTO including nitrate preservation / restoration; 21 DCP from digital
restorations (Le mani sulla città, Quien Sabe?, Pane e cioccolata, Roma città aperta, L’amore,
Paisà, Germania anno zero); 215 Beta Sp including 181 as acquisition from CN titles; 253 Beta
digit including 142 as acquisition from CN titles; 4 HDCAM as CSC school student’s film. 106
commercial DVDs were bought for student’s loan.
The Archivio Nazionale Cinema d’Impresa (CIAN), in Ivrea (Piedmont) acquired 3310 new titles
from the following private archives: Art Doc Festival, Buttafarro (Turin), Panaria Film (Francesco
Alliata), GTT (Gruppo Torinese Trasporti).
2) Progress and problems in the field of preservation
During the year, the CN continued the second phase of the survey on the nitrate collection, focusing
on the materials from the “borderline” period between nitrate and acetate (about 220 reels were
inspected in 2013), in order to draw an accurate distinction of the base material, for conservation
and safety reasons. In the framework of the nitrate plan, 30 reels were preserved in 2013, by using
digital techniques, with scan at 2K of the recovered nitrate reel, processing and archiving it on LTO
tape for preservation purposes and on DVD for access.
In addition to that, the CN undertook several restoration projects (11 titles). Two silents were
restored and presented at the Giornate del Cinema Muto in Pordenone: I promessi sposi (E. Rodolfi,
1913) and Giuseppe Verdi nella vita e nella gloria (1813-1901), (G. De Liguoro, 1913). I promessi
sposi was restored digitally, at 2K resolution, at the Eurolab laboratory in Rome, in collaboration
with the Museo Nazionale del Cinema di Torino, from an unique tinted nitrate print with Italian
intertitles, containing a shorter re-issue of the second half of the 1920s. In spite of these
characteristics, the reconstruction was made possible by the documentation conserved by the Museo
Nazionale del Cinema in Turin. Giuseppe Verdi nella vita e nella gloria (1813-1913) was
hypothetically reconstructed by using two different source materials, a fragment from a CN deposit
and other fragments restored by the Cineteca del Friuli. The restoration was done digitally at 4K at
the laboratory L’Immagine Ritrovata in Bologna, with a return back to film stock, recreating the
original colouring with the Desmet method. This version includes the insertion of photos and texts
of the period. During the course of the restoration it was also removed a fragment of Fritz Lang’s
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Die Nibelungen, which some exhibitors of the 1920s inserted to make up for the lack of scenes from
Verdi’s great operas.
Another relevant project has been La contessa azzurra (C. Gora, 1960), a rare film set in Naples, in
the the café chantant and silent cinema milieu, which was restored at 2K in agreement with the right
owner, Surf film. The same company took part in the project of the outstanding spaghetti western
Quién sabe? (D. Damiani, 1966), by restoring at 2K the integral version, working from the
Techniscope (2perf) camera negative and using as a reference an integral archival print and the
censorship cuts. Several relevant films, which were already preserved analogically in the past years,
have been restored at 2K and presented in DCP: among them Beatrice Cenci (R. Freda, 1956), Le
mani sulla città (F. Rosi, 1963) and two Fellini works, Otto e mezzo (1963, in collaboration with the
right owners Rti-Gruppo Mediaset and Medusa Film) and Le tentazioni del dottor Antonio (episode
of Boccaccio ’70, in agreement with Surf film e Videodue and with the support of Dolce &
Gabbana). Thanks to the partnership with Cinecittà Luce, Cineteca di Bologna and Coproduction
Office this year, in the framework of the Rossellini Project, it was achieved, working at
L’Immagine Ritrovata laboratory, the complete digital restoration, at 4K, of Roma città aperta
(1945) and, Il miracolo (episode of L’amore, ) and Germania anno zero (1948). Finally, it is worth
mentioning the achievement of the digital restoration of the integral version (eleven hours) of the
experimental film Anna (A. Grifi, M. Sarchielli, 1972-75), first film shot on video in Italy, working
both on original video (1/4 inch, U-Matic) and on the film materials (16mm, recorded from video)
forming the complete corpus of work. The project has been carried out at the Camera Ottica
laboratory in Gorizia, in collaboration with the Associazione Culturale Alberto Grifi.
The Archivio Nazionale Cinema d’Impresa, founded by Compagnia di San Paolo, has realized the
project: L’immagine dell’industria italiana dall’età giolittiana alle soglie del boom economico with
preservation and digitization of 500 films from Archive’s collections. The CIAN transfers films
reels in 2K using the Telecine Sondor Altra V12 - acquired in Fall 2013 - and produces digital files
and other video formats.
Both CN and Archivio Nazionale Cinema d’Impresa have organized stages for students in
collaboration with ICRCPAL (Istituto Centrale per il Restauro e la Conservazione del Patrimonio
Archivistico e Librario), since this school started in 2013 a special collaboration with the CSC-CN
for specific courses on film restoration.
3) Cataloguing, documentation and research
In the CN database (film and video) have been catalogued as new entries 1.403 film titles and 5.113
items; besides this, 2.484 film titles and 5.316 items (film and video) have been verified and
updated.
In the CIAN database have been catalogued as new entries 434 film titles and 1509 items (film and
video); 223 film titles and 665 items (film and video) revised in the database.
The Stills/Posters archive (Archivio Fototeca e Manifestoteca) has designed an extraordinary work
to allow the integration in the CN database of the pre-existing, non integrated inventory data and
digital files (about 60.000 records). The inventorying and digitization activities have been carried
out increasingly: 500 stills were inventoried and catalogued, 7.000 stills digitized. The collection
was enriched by acquiring a first part of the “Fondo Sordi”, which is in the process of complete
acquisition, and the “Fondo Antonio Appierto”, important Italian sound engineer and teacher at the
CSC school from the 50s to the 90s. The archive has also carried out research and image selection
for numerous editorial and promotional activities related to the institutional purposes of the CN.
In 2013 the CN started the new series of the Quaderni della Cineteca Nazionale, by publishing
Eduardo e il suo Monologo tra cinema, teatro e storia (including DVD), edited by S. Bruno, and Il
cinema di Claudio Gora, edited by E. Morreale. Other relevant publications were edited by the
CSC: Il grande libro di Ercole. Il cinema mitologico in Italia, by Steve Della Casa e Marco Giusti
and the periodical Bianco e Nero (n. 575 and nn. 576-577, double number in one issue, dedicated to
the celebration of the 50th anniversary of Il Gattopardo by L. Visconti).
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4) Showings
During 2013 the CN continued its cooperation with the most important film festivals. In March, at
the Bif&st in Bari, we collaborated in the tributes to Federico Fellini and Alberto Sordi; in April, at
the Festival del Cinema Europeo in Lecce, to the retrospective dedicated to Fernando di Leo and to
the homage to Francesca Neri. In Bologna, at Festival del Cinema Ritrovato, we presented in the section
Bigger than life: viaggio nel Cinemascope europeo, the restoration of Beatrice Cenci (R. Freda,
1956) and, jointly with Cineteca di Bologna, in the framework of the Rossellini project, Roma città aperta
and Il miracolo, episode of L’amore. In Venice, at the Mostra Internazionale d’Arte Cinematografica,
we projected the restored prints of Le mani sulla città (F. Rosi, 1963), Paisà (R. Rossellini), Pane e
cioccolata (F. Brusati) and Quién sabe? (D.Damiani); in Pordenone, at the Giornate del Cinema
Muto we presented three restored silents: I promessi sposi (E.Rodolfi, 1913), Giuseppe Verdi nella
vita e nella gloria (1813-191), (Giuseppe De Liguoro, 1913) and Il gallo nel pollaio (E. Guazzoni,
1916). At the Rome International Film Festival, in November, we presented two relevant
retrospectives, the first dedicated to the Italian peplum films from the period 1957-1965, Ercole alla
conquista degli schermi, along with the publication of the book Il grande libro di Ercole, the
second dedicated to Claudio Gora regista e attore (in this framework, the restored print of La
contessa azzurra); besides this, the restoration of Le tentazioni del dottor Antonio (Fellini’ episode
of Boccaccio ’70) sponsored by Dolce & Gabbana and the most recent achievement of the
Rossellini’ project, Germania anno zero.
Many other cultural events have been realized or co-realized by the CN during the year; among
these we mention the homage Verdi nel cinema organized in October by the Cineteca di Bologna
for the 200th anniversary of the birth of Giuseppe Verdi; in the same month, the collaboration with
the Cineteca Italiana in the retrospective Federico Fellini, suoni e visioni; in December, the event,
including a retrospective, a multimedia exhibition and an international study day organized in
Palermo dedicated to the 50th anniversary of Il Gattopardo, titled Il Gattopardo compie 50 anni
(Once upon a time in Sicily: 50 years of the Leopard).
The programming activity at our cinema theatre, the Cinema Trevi, was continue and intense.
Among the most interesting programs we mention the homages to Alberto Sordi, Mariangela
Melato, Vittorio De Sica, Vittorio Storaro (including a photo exhibition), Damiano Damiani,
Renato Castellani, Francesco Rosi, Fernando di Leo, Andrzej Zulawski, and the following events: I
tarantinati (the Italian directors who inspired Quentin Tarantino), Mi chiamo Fer l’88, celebrating
Fernando Birri’ 88th birthday, organized with the Embassy of Argentina and AAMOD, Pop film Art,
the XXXIII Fantafestival Spaghetti Horror, the Tertio Millennio festival, and many others. In the
city of Rome the CN often worked in partnership with cultural institutions such as Casa del Cinema
and Palazzo delle Esposizioni; in particular, with the last one we realized some events that
encountered great approval from the audience, the retrospectives Noir Americano and Cinema e
Psicanalisi.
The Stills/Posters Department (Fototeca/Manifestoteca) arranged several exhibitions, among which
we mention: Tutti De Sica with the Cineteca di Bologna at the Ara Pacis in Rome; Pop film Art at
the Gallery of the Angelica Library in Rome and circulating at the San Marino Film Fest;
Francesca Neri, in the framework of the Festival del Cinema Europeo in Lecce; Nel blu dipinto di
note. Omaggio a Domenico Modugno, during the Ischia Global Festival; Angelo Frontoni sul set, at
the Casa del Cinema in Rome; Lo sguardo di Anna, in collaboration with Ente dello Spettacolo, at
the Rome Auditorium during the Rome International Film Fest; Cinecittà si Mostra. Section
Federico Fellini ’50-‘80, promoted by Cinecittà Studios with Cinecittà Luce and Teche Rai; C’era
una volta in Sicilia. I 50 anni del Gattopardo, at the Palazzo Reale in Palermo.
The Archivio Nazionale Cinema d’Impresa (CIAN) started to work actively with several TV
channels providing footage, taking part in the production of several documentaries: La zuppa del
demonio (Rai Cinema and Rosso Fuoco); Il Futuro ha 50 Anni (Circarama and Walt Disney in
Italy), Gli anni spezzati (Fratelli d’Italia), Rai 150 anni (Albatross Entartainment); Pre.Occupati
(Provincia di Asti); Il lecito (Bmovie); Adriano Olivetti (Mark in Video Srl); Italia: la storia nuova.
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Dalla ricostruzione al miracolo economico (Rete Blu SpA - Tv2000); Plano B documentary (Olho
de Gato Filmes); Adriano Olivetti, la forza di un sogno (Casanova Multimedia Spa); Terredarte (in
collaboration with Videoest). CIAN has collaborated (stills and films) in the exhibition Cantiere
del ’900 . Arte Programmata e Cinetica section, in collaboration with Intesa San Paolo.
CIAN also keeps on developing the cultural exploitation of the archive’s heritage, with film
screenings in festivals, such as in film archives and cultural institutions: Piemonte movie
(Moncalieri, Turin, January – May); Dino Risi: gli esordi ritrovati, XX International Film Studies
Conference (Udine, March, 13); Paolo Gioli, XX International Film Studies Conference (Udine,
March, 17); Fabbrica, vita, famiglia. Esperienze di welfare raccontate dalla macchina da presa in
collaboration with Fondazione G. Pastore (Rome, November, 14); L’infinito: i più sorprendenti
cortometraggi del cinema Italiano, Festival Internazionale del cinema e delle arti (Trieste,
September, 15); Spot d’autore: Federico Fellini e la pubblicità, in collaboration with CSC – Sede
Lombardia ad Museimpresa (Milano, November, 21); Dino Risi in Corti d’autore, organized by
CNC-Centro Nazionale del Cortometraggio, in collaboration with Short Circuit, Mostra
Internazionale d’Arte Cinematografica, Archivio Nazionale Cinema d’Impresa e Rencontres des
Cinémas Arabes (Torino, December, 21).
In collaboration with Ministero dei Beni Culturali e Ambientali - Direzione Generale per gli Archivi
CIAN has realized a web tv (www.cinemaimpresa.tv) and youtube channel for the valorization of
documentaries and advertising / Commercials from industrial archives.
5) Administration & Budget, Relations with the Authorities
In February Emiliano Morreale was appointed as “Conservatore” (Curator) of the Cineteca
Nazionale.
The budget of the CN for 2013 was slightly higher than the previous year (but basically the same).
The budget of CIAN for 2013 was 524.000 euro. CIAN has a convention with regional Government
of the Piemonte Region, and is founded by Compagnia di San Paolo, Edison, Fiat, ENI.
6) International Relationships
In 2013 the Cineteca Nazionale confirmed its collaboration with several foreign cultural
institutions. In particular we collaborated in some relevant events dedicated to Pier Paolo Pasolini:
in spring at the Filmoteca de Catalunya, in Barcelona, together with the Cineteca di Bologna, in fall
at the Kino Soprus in Tallin and at the Cinémathèque française.
We collaborated in the film programming of several other film archives, such as at the
Oesterreichisches Filmmuseum, in Wien, the Valerio Zurlini and Antonio Pietrangeli retrospectives,
at the British Film Institute in London the Italian classics program, including the restoration of the
Fellini Satyricon; at the Jugoslovenska Kinoteka in Belgrade for the Nitrate Film Festival, at the
IVAC in Valencia with a retrospective dedicated to Ettore Scola, finally again at the Cinémathèque
française with two retrospectives, respectively dedicated to Luigi Comencini and to Bernardo
Bertolucci. We also took part in the Locarno Festival with the projection of Pasolini’s Accattone, in
the Festival International du Film d’Amiens with the retrospective of Italian film shorts from the
40s-50s called L’autre néoréalisme. Documentaires italiens. Among the numerous other
collaborations we mention the homage to the Italian underground of the 60s, presented in Paris in
collaboration with Light Cone, the Visconti retrospective at the Italian Culture Institute in Berlin
and the retrospective dedicated to the Taviani Brothers, organized with the Camara Italo Brasileira
de Comercio, Industria e Agricoltura, in Sao Paulo, Brasil.
The Archivio Nazionale Cinema d’Impresa (CIAN) continued its intense collaboration with several
foreign institutions. Among them, the most relevant events have been: 6 courts-métrages des
années 40 de Dino Risi, Terra di Cinema. Festival du nouveau cinema italien (Tremblay en France,
April, 3-21); L’autre néoréalisme. Documentaires italiens, Festival International du Film d’Amiens,
(Amiens, November 8-16); Paolo Gioli Retrospective, Hong Kong International Film Festival
(March 30– April 2) and Edimburgh International Film Festival (Edinburgh, June 18-29).
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CINETECA
NAZIONALE
/
FONDAZIONE
CENTRO
CINEMATOGRAFIA
Via Tuscolana 1524, 1-00173 Roma, ITALIA
T: 39-06722941 / Fax: 39-067211619 / www.fondazionecsc.it
SPERIMENTALE
Correspondance:
Stefano Rulli, Président du CSC
T: 39-06.72294250
[email protected]
[email protected]
M. Marcello Foti, Directeur Général du CSC
T: 39-0672294382
[email protected]
M. Emiliano Morreale, Conservateur de la Cineteca Nazionale
T: 39-0672294314
[email protected]
M. Mario Musumeci, Etudes et méthodologies restauration film
T: 39-0672294312
[email protected]
Mme. Laura Argento, Diffusion Culturelle
T: 39-0672294316
[email protected]
Mme Francesca Angelucci, Archive Film
T: 39-0672294216
[email protected]
Mme Maria Assunta Pimpinelli, Identification, Documentation, Catalogage
T: 39-0672294369
[email protected]
Mme. Viridiana Rotondi, Videothèque
T.: 39-0672294225
[email protected]
Mme Marina Cipriani, Iconothèque et Catalogage
T: 39-0672294211
[email protected]
Mme. Antonella Felicioni, Expositions photographiques et marketing
T: 39-0672294212
[email protected]
Mme. Fiammetta Lionti, Directrice de la Bibliothèque
T: 39-0672294332
[email protected]
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Mme. Stefania Tuveri, PIP Indexing
[email protected]
T: 39-0672294242
Mme. Debora Demontis, PIP Indexing
[email protected]
T: 39-0672294265
Archivio Nazionale del Cinema di Impresa, Ivrea (Torino)
T: 39 – 0125230104
[email protected], Directeur
[email protected]
Langues: Français, Anglais, Espagnol
Admis à la FIAF en 1949. Statut actuel: Membre
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