{"id":67815,"date":"2022-06-15T12:57:29","date_gmt":"2022-06-15T10:57:29","guid":{"rendered":"https:\/\/ilcinemaritrovato.it\/?p=67815"},"modified":"2022-06-20T13:45:58","modified_gmt":"2022-06-20T11:45:58","slug":"il-metacinema-ritrovato","status":"publish","type":"post","link":"https:\/\/ilcinemaritrovato.it\/en\/il-metacinema-ritrovato\/","title":{"rendered":"Il (Meta)Cinema Ritrovato"},"content":{"rendered":"<p><\/p>\n<p>The &#8220;cinephiles&#8217; paradise&#8221; is a space-time bubble where one can enjoy the wonders and the thousand faces of cinema, from the aesthetic to the socio-cultural, to the technical. At the same time, a place to discover those (not so) rare cases in which cinema reveals its secrets and places them at the centre of the scene. When cinema takes a moment to reflect on itself, to play with its characteristics and limitations.<\/p>\n<p><!--more--><\/p>\n<p>Below we have compiled a short list of vision tips, referencing this year\u2019s festival program, in which a metalinguistic intention of cinema becomes evident:<\/p>\n<ul>\n<li><b>Tools of the trade: cinema seen from within<br \/>\n<\/b>From the section \u201c<a href=\"https:\/\/ilcinemaritrovato.it\/sezione\/cento-anni-fa-1922\/\">One hundred years ago: 1922<\/a>\u201d, <a href=\"https:\/\/ilcinemaritrovato.it\/proiezione\/secrets-of-a-world-industry-salome\/\"><strong><i>Secrets of a World Industry &#8211; The Making of Cinematograph Film<\/i><\/strong><\/a> (United Kingdom\/1922), &#8220;shows the manufacture of film, including perforating, developing, drying, printing, grading, cutting and packing. It is a very rare look inside a film laboratory of the 1920s giving us a glimpse of the machines, people and processes that went into making and delivering the film prints to the film companies.&#8221; (Bryony Dixon and Karl Wratschko).<\/p>\n<\/li>\n<li><b>In a black and white world, clothes can only be grey&#8230; or maybe not!<br \/>\n<\/b>From the section \u201c<a href=\"https:\/\/ilcinemaritrovato.it\/sezione\/cento-anni-fa-1922\/\">One hundred years ago: 1922<\/a>\u201d, the advertising film <i><\/i><a href=\"https:\/\/ilcinemaritrovato.it\/proiezione\/changing-hues-caina-ovvero-lisola-e-il-continente\/\"><strong><i>Changing Hues<\/i><\/strong><\/a>, &#8220;a dramatised advertising film, in which a girl who cannot afford a new dress transforms her old one with Twink dye. It begins with her artist lover asking why she is always in grey or white. She looks at herself in a mirror and examines her wardrobe. Finding nothing to wear but grey, she and her younger brother and sister go shopping, and come across a shop window displaying Twink Dye and Sunlight Soap, both products of Lever Brothers. She follows the instructions and dyes a grey dress a bright pink. The final scenes see her dancing with the children to an old Scottish tune <em>Comin\u2019 Thro\u2019 the Rye<\/em>. The film is hand-and-stencil-coloured with some multi-coloured sections in what were called \u2018jazz tints\u2019, which fluctuated from one colour to the other&#8221; (Bryony Dixon).<\/p>\n<\/li>\n<li><b>The mirror screen: let\u2019s talk about you<br \/>\n<\/b>From the section &#8220;<a href=\"https:\/\/ilcinemaritrovato.it\/sezione\/ritrovati-e-restaurati-8\/\">Rediscovered and Restored<\/a>&#8220;, <a href=\"https:\/\/ilcinemaritrovato.it\/proiezione\/i-figli-di-sansonia\/\"><strong><i>I figli di Sansonia<\/i><\/strong><\/a> by Filippo Costamagna (Italy\/1920). A message becomes clear halfway through the film: &#8220;News from father I&#8217;ll be back in a few days. The film is almost finished. Here are some scenes that you can complete in your screening room&#8221;. At that point one looks down to see film strips (with great pleasure!), &#8220;Now we will project the scenes!&#8221;. And this is how the mother and the two children meet in the villa\u2019s projection room to enjoy the magic of cinema: mise en abyme, a screen within the screen.<\/p>\n<\/li>\n<li><b>When metacommunication is sung, danced and worshipped<br \/>\n<\/b>From the section &#8220;<a href=\"https:\/\/ilcinemaritrovato.it\/sezione\/ritrovati-e-restaurati-8\/\">Rediscovered and Restored<\/a>&#8220;, <a href=\"https:\/\/ilcinemaritrovato.it\/proiezione\/singin-in-the-rain-3\/\"><strong><i>Singin\u2019 in the Rain<\/i><\/strong><\/a> by Stanley Donen and Gene Kelly (USA\/1952). The red carpet, the stars, the delirious audience, the paparazzi, the (silent) black and white screen in a colour room, and the studio set (lighting of skies, artificial wind, and atmospheric smoke) as a strategy of courtship, the challenges of sound, the dubbing room. In <i>Singin\u2019 in the Rain<\/i> there is all of cinema in the background! &#8220;<em>Singin\u2019 in the Rain <\/em>is therefore a nostalgic film, the revisiting of a past that is perhaps not too distant in time, but is light years away in terms of taste, mentality,fashion and, naturally, technology.<br \/>\nSo distant that the opening sequence, with its long shot from above of the Grauman\u2019s Chinese Theatre, has the feel of a scene lifted from an animated cartoon: the colours, the lights, the distant movements, the architectural lines don\u2019t seem at all real (recreated), but instead seem to belong to a different imaginary order \u2013 that of a reality transfigured by a childish and infantile fantasy, sparkling and microscopically great&#8221; (Franco La Polla, <i>Stanley Donen, Gene Kelly. Cantando sotto la pioggia<\/i>, Lindau, Turin 1997).<\/p>\n<\/li>\n<li><b>Films within films: Part 1<br \/>\n<\/b>From the section &#8220;<a href=\"https:\/\/ilcinemaritrovato.it\/sezione\/documenti-e-documentari-6\/\">Documents e Documentaries<\/a>&#8220;, <a href=\"https:\/\/ilcinemaritrovato.it\/proiezione\/et-jaime-a-la-fureur-2\/\"><strong><i>Et j\u2019aime a\u0300 la fureur<\/i><\/strong><\/a> by Andr\u00e9 Bonzel (France\/2021) \u201cwho relives his life through the mini-films of others and affirms that \u201cAll our past is perfectly conserved; we are a suite that repeats itself; I am nothing more than a link in a repeating chain&#8221;.<br \/>\n&#8220;Telling one\u2019s own story through the images of others is a nice idea, at once modest and generous, entailing all that film \u2013 and only film \u2013 can produce in terms of shared experience&#8230; A name, Bonzel, that may be known to cinephiles is someone who, in 1992, together with R\u00e9my Belvaux and Beno\u00eet Poelvoorde, put his name to <em>C\u2019est arriv\u00e9 pr\u00e8s de chez vous<\/em>, a prickling Belgian reality-TV satire about a serial killer. Bonzel was the French camera-man in this unholy trinity, who joined forces while they were at INSAS, the famous Brussels film school. From what we know, a strangely unfortunate fate ensued for actor Beno\u00eet Poelvoorde and more tragically for R\u00e9my Belvaux, who took his own life in 2006 after embarking on a career in publicity film production; Bonzel disappeared from view. At 60, he reappeared with this montage film, a gem of sensibility and emotion&#8230;&#8221; (Jacques Mandelbaum, Et j\u2019aime \u00e0 la fureur<i>: journal intime sur pellicules anonymes<\/i>, \u201cLe Monde\u201d, 20 April 2022).<\/p>\n<\/li>\n<li><b>Films within films: Part 2<br \/>\n<\/b>Among this year\u2019s <a href=\"https:\/\/ilcinemaritrovato.it\/sezione\/documenti-e-documentari-6\/\">Documentaries<\/a> during Cinema Ritrovato is another re-edited film: <a href=\"https:\/\/ilcinemaritrovato.it\/film\/her-violet-kiss\/\"><strong><i>Her Violet Kiss<\/i><\/strong><\/a> by Bill Morrison (USA\/2021). The film &#8220;re-contextualises a scene from a lost silent German title <em>Liebesh\u00f6lle<\/em>, 1928 (or <em>Pawns of Passion<\/em>, 1929) for contemporary audiences during a global pandemic.<br \/>\nThe source film was directed by Wiktor Biega\u0144ski and Carmine Gallone, and stars Olga Tschechowa. It was believed to be a lost film until Bruce Lawton uncovered an incomplete print in a cache of films that had been stored in a barn in Pennsylvania and donated it to the Library of Congress National Audio-Visual Conservation Center. Director Bill Morrison scanned the print in 2013, and this copy had remained in his personal archive, unseen until now. In this revision, the deteriorating nitrate print has been scanned, slowed down, and re-edited with Michael Montes\u2019 score&#8221;.<\/p>\n<\/li>\n<li><b>The metaphor for the end of a cinema and a generation<br \/>\n<\/b>From the section &#8220;<a href=\"https:\/\/ilcinemaritrovato.it\/sezione\/documenti-e-documentari-6\/\">Rediscovered and Restored<\/a>&#8220;, <a href=\"https:\/\/ilcinemaritrovato.it\/proiezione\/the-last-picture-show-directors-cut-2\/\"><strong><i>The Last Picture Show<\/i><\/strong><\/a> by Peter Bogdanovich (USA\/1971). A group of teenagers graduates from high school in the bleak Texas town of Anarene. With the end of adolescence comes the flat (violent) reality of adulthood. The last screening (<i>Red River <\/i>by Howard Hawks) closes forever not only the town\u2019s cinema but also the illusions of an entire generation who find themselves at the gates of the Korean war, which will take away the lives of many young Americans. &#8220;A cinema of nostalgia? Not in the (often sterile) sense that could be applied to other films of the period (including those of the same filmmaker). As Franco La Polla wrote in <em>Il nuovo cinema americano<\/em> <em>1967-1976, <\/em>through his hyperrealism, Bogdanovich \u201crecreates reality;he represents it in a way that does not deny the act of fabrication, but rather emphasises it as such. In<em> The Last Picture Show<\/em>,Bogdanovich\u2019s cinema ceases to be fiction, the attempt to piece together bits of an artificial reality; rather, it becomes the reinterpretation of the basis of that false reality through its reutilisation with a complete awareness of its fabricated nature. <em>The Last Picture Show<\/em> is probably the only contemporary American film, at least among \u2018regular\u2019 film production, in which the hyperreal component is fully theorised.\u201d Therefore,that which at first glance can appear nostalgic or reassuring soon reveals itself to be a heartrending journey into the imaginary, mythological falsification of classical cinema and into the senseless, depressing reality that (now as then) underpinned that representation. This is why <em>TheLast Picture Show<\/em> is so sad, because the myth (although beloved) reveals the fragility and mutability of its foundations, be they cinematic or the stuff of dreams and memories&#8221;. (Emanuela Martini, <i>Shall We Gather at the River? Tra il West e il nulla: <\/i>L\u2019ultimo spettacolo, \u201cCineforum. Nuova serie\u201d, n. 5, March 2022).<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 25%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-2' class='gallery galleryid-67815 gallery-columns-4 gallery-size-thumbnail'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/ilcinemaritrovato.it\/wp-content\/uploads\/2022\/06\/changing-hues-9.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-2\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" 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style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p><\/p>","protected":false},"excerpt":{"rendered":"<p>Sorry, this entry is only available in Italiano. Il &#8220;paradiso dei cinefili&#8221; \u00e8 una bolla spazio-temporale dove godere dei prodigi e delle mille sfaccettature &#8211; estetiche, socio-culturali, tecniche &#8211; del cinema. Naturalmente, \u00e8 anche un luogo dove scoprire quei (non) rari casi in cui il cinema svela i suoi segreti e li rende protagonisti della [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":69339,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1336],"tags":[1996,730,1369,1947,338],"class_list":["post-67815","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-cento-anni-fa-1922","tag-documentario","tag-documenti-e-documentari","tag-il-cinema-ritrovato-2022","tag-ritrovati-e-restaurati"],"acf":[],"_links":{"self":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/67815","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/comments?post=67815"}],"version-history":[{"count":13,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/67815\/revisions"}],"predecessor-version":[{"id":69448,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/67815\/revisions\/69448"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/media\/69339"}],"wp:attachment":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/media?parent=67815"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/categories?post=67815"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/tags?post=67815"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}