Retrieved from VA, FOR A NEW CRITICISM. CONFERENCES Pesaresi
1965-1966, Marsilio, Venice 1989, pp. 51-53, 59-60
Unfortunately, there is already collected and sorted, a body of
critical materials, and a finite collection of homogeneous texts
chosen based on a principle of limited relevance, similarity and difference which
'simulacrum' of objects
observed and studied to offer the possibility of a speech
from film critics. Neither shall constitute
myself I could easily
as it should be possible, however, through a serial
(how we miss, for example, "The film spectator
," a magazine that was closed, perhaps because
was so helpful, having to do to collect the
most significant texts of criticism, mind you, not the best
along the whole range of ideologies and interests). But perhaps this is better than
corpus - that would be needed to
a search on "systems of signification" of the critical current
not collected because after a round table
on film criticism, rather than reduced to an exercise
a meta-meta on another
be good to discuss on certain vectors converging
of action for the "New Cinema" which is dedicated this
First International Exhibition of Works Prime; 'first
"obviously, not only in chronological order or
master. Why - Why spending perhaps other speeches or collect other data and figures (we know them all in bulk)
- the situation of the cinema (including criticism, then)
is more than problematic, and we are still stuck to the repetition of alarms that
fail to alarm as
should - a sign that the warning signs is badly
set, perhaps. The situation is serious film, and talk
around the cinema, not just the Italian one - despite
the contemporary debates in Parliament and melancholy.
Seventy years from that historic night at the Salon Indien du Grand Café
at number 14, Boulevard de Capucines
when the sum of one franc a strange new
public discovered "the animated picture," while the Italian cinema continues
alarmed, and hence not really alarmed
, and similar to the nearest cinema market,
in France, Monsieur Paul Reverdy,
Inspector of Finances, a specific request of the Minister on his ability
survival of the national cinema (after the defection of
found three quarters of the audience) responded
that "by Forty-six million inhabitants with a high content
of life, and consequently various des loisirs (ie
availability of a varied use of leisure),
the French domestic market is, the film industry,
a limited market. Under these conditions there is
can hide that "the maintenance of a national
production is a form of luxury." To the extent that
this production loses its viability natural
the problem facing the community is whether it
accepts it or not, both for the way tax (lightening) and for the
via the budget (direct or indirect subsidies) to replace private capital
missing. This choice is
financial and cultural, then political ...». And the phrase "maintaining
domestic production is a form of luxury
" was underlined in the text of the report by the author himself: which shows how a modern capitalist state
can be envisaged in cold blood, the disappearance of one of the branches
most of its production system
culture. The film, obviously, does not yet considered by
official spheres of our country near
(mothers- and daughters-mean) even at the level of publishing
(which, at least for the school,
a permanent and indispensable to its justification): if
unprofitable, is not justified. The film, on the other hand, is really in crisis and the
phenomenon - even just to stay
statements brothers Siritzky
important masters of a circuit which is updated
as an alternative to other modern loisirs (courtesy campaigns, competitions
of comfort, combining entertainment, etc..), and then reacts
- is irreversible. Viewers
fall and the increase in receipts is illusory because it is based
on comparisons between non-homogeneous (the revenue of the past and current
compared as if the systems of assessment and control
official were the same between 1938 and
1956). Cinema is now a global business, and only the determination and concentration
oligopolistic
for now appears to allow room for quantitative growth (new markets, developing countries
cinematically etc...)
As the theater has started its phase Boulevard, so
is going to the cinema, attacked by competitively
altrimezzi use of leisure time, so that
one hand we have the end of the boulevard cinema, and
the other extreme intellectualist cinema, cinema
parallel with - the center - the vulgarity of the film for low mass and
appetites for the new youth market.
the cinema and the public should be masked, "playing
nascondarella", said Alain Resnais, "there are types of public and
types of films that will never meet, and
just when the audience shows no more a consumer
generic, but you choose your products (this is also
one of the causes of the crisis), because you have not yet found a way to provide
people
of the information required, namely those that satisfy the reality: advertising
now tends to his controfine: does the public believe
going to see a different product from what is projected
. And the critical ...». Dot dot dot. Fill these
dot dot dot, if we can. The criticism has not yet chosen
the vast majority of the solution that offers the
crisis: Film that is decisive support for the mass culture of mass
"because the only public film mass
you can select the public sufficient and necessary to create
the cultural foundation of the new cinema "(as Gramsci said
for literature, speaking of his relationship with
of the appendix), or diverse cinema for public
differentiated, or cinema cinema elite and mass (with consequent self-censorship
economic
would add to the political and cultural one, namely that the uneven development of language skills
film)
... Yet it is important that the film critics
choose, they realize the crisis for example,
in all its socio-ideological. For example,
always in France, where things are worse than us and
the crisis before us a few steps, the Minister of Cultural Affairs
and the National Centre of French Cinematography
have done to achieve the Company of Economics and
Applied Mathematics An investigation into the audience
on the situation and prospects in attendance at the cinema and was found to increase the means to kill time, but
decreases the time to kill. In other words, the failure
time "to live" together with the fact that cinema
no longer has a virtual monopoly of distractions
popular, is no longer the sort of physio-psychological
habit that had become the drug of mass (
has never been just that, of course), are other elements of the crisis
film, however, is not only more films, but
the same psychological and cultural life of the nation. In
Essentially, the public today has made the film an image that stimulates
as before, and cinema
retains an image of the public who is overcome by new consumer trends
existence as a total product,
commodification , totalizing reification and alienation.
criticism, in the middle, should be able to improve the two
pictures or bring them closer, to focus, but so far there
is successful, but ...
(...) But the movie again today responds to a conception
macroscopic and naively romantic
of becoming social. Therefore his "gender" is reduced to a single genre
century romance, and has not gone beyond that step
- though critics pointed out sporadically
fundamental - namely the discovery of microscopic
deimovimenti outside, on the first floor as the nucleus of
figuration of a new language to be applied to
inner movements, the mechanisms of consciousness,
internalization of the show or for processing into
show the inner life of man. We do not know yet when
escape this kind of law that seems poetic
included in the rule of commercial success,
that may be declared only by
tens of millions of people at various levels of culture and sensitivity
(the success of the film is comparable to the success of
work that must be enjoyed through the ages, from different
humankind, as by means of time travel), but
is certain that we are still at the stage of emotional medicine
visual distributed in doses from horse to a humanity that
needed an urgent remedy against excessive
instrumentalization of reason, and in doses
took an hour and a half of uninterrupted inhibition and hypnosis.
In an era of overall planning of tipificazione
of mentality, culture is the antidote was so grossly
poetic, they followed the rules the popularization and standardization
emotional, collective neuroses. The
critics have reacted to the mechanism and its automatic
as he could, but his meta
remained mired in the same speech impediments, but did have to start from
renewal of its own tools of analysis
film, beginning with kinegram patterns as
linguistic signs, from semiotics, the study of the structures
language of cinema. Ourselves we should start, or restart
here. The structural anthropology
has shown us that everything is a system of signs and meanings
seconds. Although this festival, this "First International Exhibition
New Cinema "is a system of signs
. The title, for example, in its denotation
deceptively simple as that of the International Exhibition of New Cinema
implies a connotation of cultural trend. This is not new in cinema
sense of time and the names, advertising,
invitations, collateral events, round tables, invited the characters, the same hospitality, gestures and ways,
objects, same film at the end are all signs, rituals, protocols.
it shows, for example, means a certain
ambition and a degree of confidence. He believes in the "new" if only because it is
'new' because it is the 'first' and claims
precariously to a "verification" of the "ferment of the original
commitment to innovation in content and language
. The joint exhibition and means, in short. Notify
initiative, reports of work accomplished and make
. It means that the cinema is "new"? Or
must be "new"? If we are experiencing the "ferment of
linguistic renewal" means, for example, that
these enzymes have already been identified? Or I will identify here only
someone checks will
next? But if this show will be every year, we will see here that the film
will be "new" each year in the sense
polemical and programmatic
reason clearly implied in his title? It is this possible?
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