When did the newsreel formula originate in Italy? When did events start to be presented with the informative regularity of the newsreel, rather than according to the system of the “Cinema of Attraction” - typical of the non fiction film, that is to say a film which shows to the public events in their uniqueness –? When did the Italian cinema turn to a semantization of the visible, configuring it as a real news, instead of a spectacularization of the event? On a European level, the First World War can be seen as a turning point. But in the Italian context, the turning point can be located even in a previous time: that is to say, during the the Italo-Turkish War (September 28, 1911- October 18, 1912), a conflict fought using a huge deployment of forces, within the territory of (the now called) Lybia. Even though it was undertaken with a colonialistic intent, this war can be considered, for many reasons, the first move toward the breakingoff of the European balance, which had been almost unchanged for decades. Notwithstanding the geopolitical factors, these two historical moments (the First World War and the Italo-Turkish War) have in common the display of a new relation to the territory as well as to the tactical-logistic structure designed to recompose the social fabric spread on that territory. For the first time, on that occasion new military phenomena occur, connected to modernity: territory practicable in a tridimensional way, not just by infantrymen or horse and mechanized troops, but even by military aircrafts (used for photographic/cinematographic patrols as well as for raids), and istantaneous speed of communication, which has now become a reality, thanks to the creation of the first regular service of military radiotelegraphy on a large scale, due to the work of the Military Engineers. On that occasion, even non fiction film changes its modalities of interaction. Under an agreement with the Colonial Office, the cinematographer Luca Comerio alternates traditional shooting, odeporic and exotic, with more innovative war shooting, including them into a serial system designed to inform, at regular intervals, italian citiziens about the development of the war. The agreements, which is being formalized, with the archive photos and film the historic office of the Italian Army,we have reason to believe that bringing to light important elements able to shed some light on this important page of history.
Mazzei, L., Berruti, S. (2012). The Silent War. "Newsreels" and "Cinema postcards" from country at war. In La construcció del l'actualitata en el cinema dels orígen (pp.261-275). Girona : Fundació Museu del Cinema-Col.lecció Tomàs Mallol; Ajuntament de Girona.
The Silent War. "Newsreels" and "Cinema postcards" from country at war
MAZZEI, LUCA;
2012-05-01
Abstract
When did the newsreel formula originate in Italy? When did events start to be presented with the informative regularity of the newsreel, rather than according to the system of the “Cinema of Attraction” - typical of the non fiction film, that is to say a film which shows to the public events in their uniqueness –? When did the Italian cinema turn to a semantization of the visible, configuring it as a real news, instead of a spectacularization of the event? On a European level, the First World War can be seen as a turning point. But in the Italian context, the turning point can be located even in a previous time: that is to say, during the the Italo-Turkish War (September 28, 1911- October 18, 1912), a conflict fought using a huge deployment of forces, within the territory of (the now called) Lybia. Even though it was undertaken with a colonialistic intent, this war can be considered, for many reasons, the first move toward the breakingoff of the European balance, which had been almost unchanged for decades. Notwithstanding the geopolitical factors, these two historical moments (the First World War and the Italo-Turkish War) have in common the display of a new relation to the territory as well as to the tactical-logistic structure designed to recompose the social fabric spread on that territory. For the first time, on that occasion new military phenomena occur, connected to modernity: territory practicable in a tridimensional way, not just by infantrymen or horse and mechanized troops, but even by military aircrafts (used for photographic/cinematographic patrols as well as for raids), and istantaneous speed of communication, which has now become a reality, thanks to the creation of the first regular service of military radiotelegraphy on a large scale, due to the work of the Military Engineers. On that occasion, even non fiction film changes its modalities of interaction. Under an agreement with the Colonial Office, the cinematographer Luca Comerio alternates traditional shooting, odeporic and exotic, with more innovative war shooting, including them into a serial system designed to inform, at regular intervals, italian citiziens about the development of the war. The agreements, which is being formalized, with the archive photos and film the historic office of the Italian Army,we have reason to believe that bringing to light important elements able to shed some light on this important page of history.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
