Books by Marcello Seregni
![Research paper thumbnail of Le immagini in movimento e la rivoluzione digitale [co ed. by Marcello Seregni, Virgilio Tosi, Lorenzo Lorusso, Carocci, Roma, 2020, ISBN: 9788829001750]](https://attachments.academia-assets.com/65117253/thumbnails/1.jpg)
La rivoluzione del linguaggio delle “immagini in movimento” ha avuto importanti conseguenze sulla... more La rivoluzione del linguaggio delle “immagini in movimento” ha avuto importanti conseguenze sulla società già dalla fine del XIX secolo. Quali sono le sfide, gli aspetti positivi e negativi di questo linguaggio e dei dispositivi digitali coinvolti nella comunicazione, a livello sia collettivo sia individuale? Condurranno l’uomo verso una nuova democrazia o verso una forma di schiavitù tecnologica? Il libro risponde a queste e altre domande mettendo a confronto le opinioni di tre generazioni di studiosi che hanno vissuto l’avvento e vivono l’ascesa della tecnologia digitale.
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The revolution in the language of "moving images" has had important consequences on society since the end of the 19th century. What are the challenges, the positive and negative aspects of this language and of the digital devices involved in communication, both collectively and individually? Will they lead man towards a new democracy or towards a form of technological slavery? The book answers these and other questions by comparing the opinions of three generations of scholars who have experienced the advent and are experiencing the rise of digital technology.
"Винаги съм изживявал тези приключения като разкази, като приказки, в които съм герой, тоест прив... more "Винаги съм изживявал тези приключения като разкази, като приказки, в които съм герой, тоест привилегирован."
Марчело Мастрояни
Марчело Мастрояни с неизменното си безразличие към физическите трансформации е един от малцината италиански актьори, способен да се впише в "реалистичен филм с вид на човек, взет от улицата". Той позволява на зрителите почти напълно да се отъждествяват с персонажите, режисирани от големи автори на италианското и световното кино като Висконти, Фелини, Антониони, Михалков, Олтман. Галерия от популярни образи, които го правят първо звезда и после мит, телесно и кинематографично въплъщение на желанията на публиката.
L'immagine colore. Le fer à cheval un film pathé, ed. by Marcello Seregni. The book offers a coll... more L'immagine colore. Le fer à cheval un film pathé, ed. by Marcello Seregni. The book offers a collection of essays on the history of silent film and film restoration, with particular attention to Camille de Morlhon’s Le fer à cheval (1909), recently restored by Associazione Culturale Hommelette and Fondation Jérôme Seydoux-Pathé. Contributions by Giulia Barini, Rossella Catanese, Eric Le Roy, Federico Pierotti, Alice Rispoli, Stéphanie Salmon, Claudio Santancini, Elisa Uffreduzzi, Giandomenico Zeppa. A large iconographic insert with color frames completes the book. Instructions to request free online access to Le fer à cheval are included.
Text in italian, english and french.
Saggi / Essai / Paper by Marcello Seregni
Participation in the press kit of the film Filibus, writing of the chapter entitled A fantastic f... more Participation in the press kit of the film Filibus, writing of the chapter entitled A fantastic flight. Bertinetti and Filibus
Tutto Fellini, 2019
Article dedicated to Ferdinand Guillaume
Tutto Fellini, 2019
Article dedicated to Marcello Mastroianni
Tutto Fellini, 2019
Essay dedicated to the film Lo sceicco bianco (Federico Fellini, 1952)
Bergamo Film Meeting Catalogue, 2019
Interview with photographer Roberto Villa, author of the photos on the set of Il fiore delle mil... more Interview with photographer Roberto Villa, author of the photos on the set of Il fiore delle mille e una notte (Pier Paolo Pasolini, 1974)
Bergamo Film Meeting Catalogue, 2019
Essay dedicated to the exhibition Pasolini e le Mille e una notte with documents, photographs and... more Essay dedicated to the exhibition Pasolini e le Mille e una notte with documents, photographs and original materials
Infanzia e povertà. Storie e narrazioni nell'Italia del dopoguerra (1945-1950), 2018
Cinema and childhood in Luigi Comencini in the Italian post-war period
Futurist Cinema. Studies on Italian Avant-garde Film,, 2017
This filmography was compiled with the aim of creating an easy-to-use tool for film scholars. To ... more This filmography was compiled with the aim of creating an easy-to-use tool for film scholars. To facilitate consultation and bring into focus the key issues that emerge from a reading of the book, it was decided to divide the filmography into three sections. The first two sections comprise films produced from the origins of cinema through to 1939, the year that can be considered the ideal conclusion of the Futurist trajectory in cinema.
Gli studi sul cinema non hanno ancora indagato appieno il ruolo strategico delle società produttr... more Gli studi sul cinema non hanno ancora indagato appieno il ruolo strategico delle società produttrici di materiale tecnico e nello specifico di pellicola. In Italia un caso emblematico fu la Società Anonima Tensi di Milano. Il saggio mira all'approfondimento del rapporto fotografia/cinema analizzando gli aspetti e le particolarità produttive e qualitative della Società Anonima Tensi, attuando una riflessione sulle relazioni estetiche e documentarie derivate dall'utilizzo e dalla diffusione della pellicola.
![Research paper thumbnail of 10) La vita è una gara: chi ha polvere spara. Alida Valli, Sulamita alla conquista del cinematografo. / Life is a race: who shoots dust. Alida Valli, Sulamite to conquer the cinema [in S. Gundle, M. Comand, Bianco & Nero, n. 586, CSC, 2017, ISBN: 88-366-3601-2]](https://attachments.academia-assets.com/56176411/thumbnails/1.jpg)
Maria Alida von Altenburger Markenstein und Frauenberg born twice. The first in Pula, May 31, 192... more Maria Alida von Altenburger Markenstein und Frauenberg born twice. The first in Pula, May 31, 1921, a child in a wealthy family who soon moved to Como. The second at the cinema, in 1937, when on Il feroce Saladino appears for the first time with his stage name, Alida Valli. But not only: Saladino is also the first ever film that sees the protagonist, yet sixteen; it is one of the first Italian films that bring on screen the world of the magazine; it is also striking example of admixture between the radio and cinema, advertising and costume. The title and the subject is in fact inspired by one of the many passions that sparked Italians in the thirties: the feroce Saladino is none other than a comic figure put on the market for advertising-from Perugina Buitoni, sponsors of the radio program I quattro Moschettieri by Nizza and Morbelli. Just the program, which can be defined as the first Italian radio play, mixed characters and stories, from which it Saladino. His fortune was so huge that in 1937 there arose a film directed by Mario Bonnard. A satirical film, grotesque, abnormal in the filmography of the director but also in the Italian cinema, within which stood right Alida Valli.
The paper aims to conduct a study around the Il feroce Saladino ,using the documents of the Alida Valli Collection deposited in the Centro Sperimentale and the historical research on the film, mainly linked to the reviews and the statements of the protagonists of the time.
Saggio su Le mille e una notte - Arabian nights di Miguel Gomes / Essay on Le mille e una notte -... more Saggio su Le mille e una notte - Arabian nights di Miguel Gomes / Essay on Le mille e una notte - Arabian nights by Miguel Gomes
The paper aims to analyze the main aspects of cinema in Italy during the years of the Great War t... more The paper aims to analyze the main aspects of cinema in Italy during the years of the Great War through the study of life film, the most important magazine of the time, which went from 1910 to 1934, the magazine in its entirety is only present in 'archive of the Cinematheque Italian in Milan. The paper aims to take a look at the movies during the First World War through the analysis of these important extra filmic materials that will surely provide an opportunity to study and understand the cinema of those years from a new point of view and absolutely unprecedented.
I Promessi Sposi (1922/1934) de Mario Bonnard, peut-être la dernière grande œuvre du cinema muet ... more I Promessi Sposi (1922/1934) de Mario Bonnard, peut-être la dernière grande œuvre du cinema muet italienne. Fait une première version muette en 1922 et réédité en version sonore en 1934, le film a fait l'objet de certains problèmes de production et de distribution qui ont influencé le succès et la renommée critique. Cependant, plus de deux heures dans la longueur et les grandes scènes de combat, ainsi que l'élégante composition esthétique, en font un joyau du cinéma italien.
![Research paper thumbnail of 6) Il dialetto nel cinema muto italiano. Luca Comerio ed Edoardo Ferravilla [in Marco Gargiulo (a cura di), Lingue e linguaggi del cinema in Italia, Aracne, Roma, 2016, ISBN: 978-88-548-8964-4]](https://a.academia-assets.com/images/blank-paper.jpg)
Nel 1914 Luca Comerio produce e gira dei film su Edoardo Ferravilla, convincendo il grande attore... more Nel 1914 Luca Comerio produce e gira dei film su Edoardo Ferravilla, convincendo il grande attore milanese a farsi riprendere nelle sue piéce teatrali e dialettali più conosciute. Questi film si situano, ben prima del cinema di Govi o dei De Filippo, quali primo esempio di cinema che traspone sullo schermo elementi caratteristici di una determinata zona, quali il dialetto e la geografia urbana come indice di identità.
Il saggio mira all'analisi dei film indagando i rapporti tra cinema/territorio e cinema/identità, nonché la ricostruzione delle vicende produttive delle opere.
In 1914 Luca Comerio produces and turns of the film of Edward Ferravilla, convincing the great actor to be filmed in his plays and dialect piéce best known. These films are located, well before the cinema of Govi or De Filippo, which first example of cinema that transposes on screen elements characteristic of a particular area, such as the dialect and the urban geography as a sign of identity.
The essay aims analyze fiction investigating the relationship between film / territory and cinema / identity, as well as the reconstruction of the production of the works.
l saggio si sofferma sulla produzione filmica di Paolo Gioli dal 2000 ad oggi, analizzando il per... more l saggio si sofferma sulla produzione filmica di Paolo Gioli dal 2000 ad oggi, analizzando il percorso produttivo (in Gioli unico in quanto da sempre prodotto in piena libertà attraverso Paolo Vampa, amico e produttore di sempre), le radici nella contemporaneità (il caso di Children, con il gioco fra il ritratto di una figlia di Kennedy e una bambina morta durante una guerra), le unioni con la fotografia e l’arte (Sommovimenti,Rothkofilm).
Saggio pubblicato in A. Amendola, V. Del Gaudio, M. Tirino (a cura di), L’illuminazione disseminata. Introduzione alla sociologia degli audiovisivi sperimentali, Liguori Editore, Napoli, 2016, ISBN: in corso di pubblicazione.
El proyecto Ferravilla quiere valorizar y hacer accesible al pùblico materiales casi inéditos del... more El proyecto Ferravilla quiere valorizar y hacer accesible al pùblico materiales casi inéditos del grande actor teatral milanés a través de la presentaciòn de las peliculas que Luca Comerio produjo sobre él y que lo vieron como protagonista: La class di asen, Scena musicale a soggetto, Massinelli in vacanza, Ferravilla nelle sue più caratteristiche interpretazioni e Tecoppa & c., todas realizadas y producidas en 1914. Visionando su persona serà posible sentir, por primera vez después de un siglo, la voz original de Ferravilla interpretando algunas partes de sus piezas y escuchar el acompanamiento de piano con las musicas originales realizadas por él.
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Books by Marcello Seregni
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The revolution in the language of "moving images" has had important consequences on society since the end of the 19th century. What are the challenges, the positive and negative aspects of this language and of the digital devices involved in communication, both collectively and individually? Will they lead man towards a new democracy or towards a form of technological slavery? The book answers these and other questions by comparing the opinions of three generations of scholars who have experienced the advent and are experiencing the rise of digital technology.
Марчело Мастрояни
Марчело Мастрояни с неизменното си безразличие към физическите трансформации е един от малцината италиански актьори, способен да се впише в "реалистичен филм с вид на човек, взет от улицата". Той позволява на зрителите почти напълно да се отъждествяват с персонажите, режисирани от големи автори на италианското и световното кино като Висконти, Фелини, Антониони, Михалков, Олтман. Галерия от популярни образи, които го правят първо звезда и после мит, телесно и кинематографично въплъщение на желанията на публиката.
Text in italian, english and french.
Saggi / Essai / Paper by Marcello Seregni
The paper aims to conduct a study around the Il feroce Saladino ,using the documents of the Alida Valli Collection deposited in the Centro Sperimentale and the historical research on the film, mainly linked to the reviews and the statements of the protagonists of the time.
Il saggio mira all'analisi dei film indagando i rapporti tra cinema/territorio e cinema/identità, nonché la ricostruzione delle vicende produttive delle opere.
In 1914 Luca Comerio produces and turns of the film of Edward Ferravilla, convincing the great actor to be filmed in his plays and dialect piéce best known. These films are located, well before the cinema of Govi or De Filippo, which first example of cinema that transposes on screen elements characteristic of a particular area, such as the dialect and the urban geography as a sign of identity.
The essay aims analyze fiction investigating the relationship between film / territory and cinema / identity, as well as the reconstruction of the production of the works.
Saggio pubblicato in A. Amendola, V. Del Gaudio, M. Tirino (a cura di), L’illuminazione disseminata. Introduzione alla sociologia degli audiovisivi sperimentali, Liguori Editore, Napoli, 2016, ISBN: in corso di pubblicazione.
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The revolution in the language of "moving images" has had important consequences on society since the end of the 19th century. What are the challenges, the positive and negative aspects of this language and of the digital devices involved in communication, both collectively and individually? Will they lead man towards a new democracy or towards a form of technological slavery? The book answers these and other questions by comparing the opinions of three generations of scholars who have experienced the advent and are experiencing the rise of digital technology.
Марчело Мастрояни
Марчело Мастрояни с неизменното си безразличие към физическите трансформации е един от малцината италиански актьори, способен да се впише в "реалистичен филм с вид на човек, взет от улицата". Той позволява на зрителите почти напълно да се отъждествяват с персонажите, режисирани от големи автори на италианското и световното кино като Висконти, Фелини, Антониони, Михалков, Олтман. Галерия от популярни образи, които го правят първо звезда и после мит, телесно и кинематографично въплъщение на желанията на публиката.
Text in italian, english and french.
The paper aims to conduct a study around the Il feroce Saladino ,using the documents of the Alida Valli Collection deposited in the Centro Sperimentale and the historical research on the film, mainly linked to the reviews and the statements of the protagonists of the time.
Il saggio mira all'analisi dei film indagando i rapporti tra cinema/territorio e cinema/identità, nonché la ricostruzione delle vicende produttive delle opere.
In 1914 Luca Comerio produces and turns of the film of Edward Ferravilla, convincing the great actor to be filmed in his plays and dialect piéce best known. These films are located, well before the cinema of Govi or De Filippo, which first example of cinema that transposes on screen elements characteristic of a particular area, such as the dialect and the urban geography as a sign of identity.
The essay aims analyze fiction investigating the relationship between film / territory and cinema / identity, as well as the reconstruction of the production of the works.
Saggio pubblicato in A. Amendola, V. Del Gaudio, M. Tirino (a cura di), L’illuminazione disseminata. Introduzione alla sociologia degli audiovisivi sperimentali, Liguori Editore, Napoli, 2016, ISBN: in corso di pubblicazione.
Lo spettacolo della vita è enorme,
e ognuno porta su di sé dei segni accumulati.”
La freccia nel fianco, realizzato da Lattuada negli anni che vanno dal 1943 al 1945, fa parte di quella schiera di film della cinematografia italiana racchiuso sotto il titolo di cinema dei calligrafici. Realizzato con l’apporto alla sceneggiatura di personaggi del calibro di Zavattini, Flaiano e Moravia, il film naviga su continui rimandi ad un realismo acerbo e un mondo onirico dove il vivere aristocratico del dodicenne Brunello Traldi e della diciottenne Nicoletta Dossena, legati da un’amicizia intensa, si scontrerà con la vita vera e le sue mille strade. Proprio una maschera è il tassello della scena centrale e di passaggio tra un mondo (ingenuo, dolce, sensibile) e l’altro (maturo, decadente, disperato), dove nel teatro della villa uno dei personaggi si interroga, e ci interroga, sulla finzione e la realtà, sulla vita e sulla morte. Questo momento topico, oltre a rappresentare una svolta nella storia, è anche annullamento e limbo momentaneo in cui si percepisce maggiormente il significato morale e intellettuale che va oltre il mero personaggio. La maschera è lì a richiamare questi dubbi e queste incertezze e a differenziare e allontanare il personaggio, mettendo di fronte a noi quelle incertezze e quei dubbi.
The production of Cines Italo-turkish conflict, is in this sense an important study desk. The research presented in this paper is based upon an analysis of the materials present at the Fondazione Cineteca Italiana of Milan and the Cineteca Nazionale of Rome. These are scenes from "real" and "live" re-created in a fine line between documentary and natural shots. The amount of material examined and described in the paper allows to take into account the production on the Italo-Turkish war in a much more organic than in the past, even as regards technique and film language.
The combination of photography and motion picture film is particularly interesting today as it shows how society individuals between the two a combination not only productive but also qualitative and scientific. Indeed Tensi will devote particular attention to the production of materials for cinematography and scientific photography.
The essay aims to deepen the relationship photograph / film analyzing the aspects and special production and quality of the Società Anonima Tensi, thus implementing a reflection on the relations and documentary aesthetic derived from the use and dissemination of the film.
The Home Movie as a witness and testament compared ancient epigraph as a sign of memory.
The project develops the analysis of the Italian magazines dedicated to the Pathé Baby in the 1920s - 1940s year and the construction of an identity of its own amatorial film maker.
In the 1914 Comerio produces some movies about and with Edoardo Ferravilla, considered most of the important authors and Italian theaters actors. Ferravilla is famous but at the end of his career, in fact died in 1915. Comerio is able to convince this man a little shy and not easy to reprise for the cinema some of its famous scenes.
This production is meant to be both a tribute but also a documentation of the work of Ferravilla for the future. You can tell because they are represented in almost all the typical characters of the actor.
In the fisrt month of 2013 were found and identified in the Film Archive of Cineteca Italiana in Milan the following film directed by Arnaldo Giacomelli and photography and production by Luca Comerio: La class di asen (1914) e Scena a soggetto musicale (1915). The importance of this film lies in the strength documentary and being the only existing images of this great actor.
The contributors intended to analyze the figures of Luca Comerio and Edward Ferravilla in relation to the filming and forms of representation of the theater.
All'interno presentazione dei materiali inediti di Sogno d'amore (1943) film non terminato di Poggioli e presente in copia unica nell'archivio film della Cineteca del Friuli.
The DVD booklet is composed of an introduction of Ferdinand Guillaume, a notes on the film, notes on the restoration and a little press review.
The booklet of the DVD consists of a short introduction and a filmographic schedule. There are also the photographs from the archives of the Museo Nazionale del Cinema in Turin.
The films are part of the anti-tuberculosis campaign launched in the thirties by the fascist regime. The use of animation and experimental language make this film the real little gems of italian animation cinema.
In the 1914 Comerio produces some movies about and with Edoardo Ferravilla, considered most of the important authors and Italian theaters actors. Ferravilla is famous but at the end of his career, in fact died in 1915. Comerio is able to convince this man a little shy and not easy to reprise for the cinema some of its famous scenes.
This production is meant to be both a tribute but also a documentation of the work of Ferravilla for the future. You can tell because they are represented in almost all the typical characters of the actor.
In the fisrt month of 2013 were found and identified in the Film Archive of Cineteca Italiana in Milan the following film directed by Arnaldo Giacomelli and photography and production by Luca Comerio: La class di asen (1914) e Scena a soggetto musicale (1915). The importance of this film lies in the strength documentary and being the only existing images of this great actor.
Tenendo fede alla vocazione storiografica del Premio Amidei, anche quest’anno si riconsidera un periodo legato al tema della scrittura e della relazione tra forme visive e trame dell’immaginario. Registi come Charini, Lattuada, Poggioli, Soldati, protagonisti del cosiddetto calligrafismo italiano, saranno al centro della sezione.
All'interno della sezione anche un evento speciale: la prima proiezione e visione pubblica dei materiali di Sogno d'amore (1943) ultimo e mai terminato film di Poggioli, presente in brani unici nell'archivio film della Cineteca del Friuli.
Scheda tecnica e riassuntiva del film I piccoli naufraghi di Flavio Calzavara (1939). Catalogo del Festival per ragazzi Piccolo Grande Cinema 2014, organizzato da Fondazione Cineteca Italiana di Milano. Proiezione dell'edizione restaurata del film in anteprima avvenuta domenica 23 novembre 2014, Spazio Oberdan, Milano.