Where and when
21:00 – 22:30
Tuesday 22 September at 9:00pm
Meeting with Antonio Scurati
Concept and direction Pinangelo Marino
The Twentieth century was the century of cinema, the century in which cinema was born, developed and in some ways died. The Twentieth century was the only century in which the world was exposed to film, and film in the world.
The Twentieth century was more generally the century of technology, during which the individual lived his maximum exposure to the blind power of technology, the military, technological, nuclear, psychoanalytic, financial, media.
Exposition | Images e visions of the ‘900 is the title of the series of meetings with personalities of culture, projections and reworking of archival documentaries, to retrace the last century and understand how the world changes in the time of the exhibition, that fabulous time that was of cinema and that makes history, still alive in the collective memory as well as in the individual one.
Conceived and directed by Pinangelo Marino, it is a project promoted by the magazine Quaderno del Cinemareale and realized in collaboration with Fondazione Sistema Toscana, Quelli della Compagnia, Festival dei Popoli, Tempo Reale, Luce Cinecittà, Archivio Aamod and Museo Novecento
Meeting with Antonio Scurati
A society that no longer lives the time of transformation, in which the individual appears prisoner in the mutilated time of the exhibition, what sense does it give to the story and the need to tell it? And what is the meaning of the word “reality”? Author of the book Il tempo migliore della nostra vita (published by Bompiani) will retrace the most intense chapters of his latest work, in which the story of one of the key figures of the Resistance, Leone Ginzburg, flows next to that of common existences.
Author will finish the speech with an analysis of his cinematographic work made in 2007 entitled La stagione dell’amore, documentary inspired by the film “Comizi d’amore” by Pier Paolo Pasolini and which offers a look at the society of our time. Extracts of the two works will be shown.
It moderates Pinangelo Marino.
(Naples 1969) is a researcher at IULM in Milan and a member of the Centre for the Study of Languages of War and Violence. He wrote the essays “Guerra. Narratives and cultures in the Western tradition” (2003, finalist at the Viareggio Prize) and “Televisioni di guerra” (2003). Bompiani has published, in an updated version, his debut novel “Il rumore sordo della battaglia” (2006, Fregene Prize, Chianciano Prize), the essays “La letteratura dell’inesperienza” (2006), “Gli anni che non stiamo vivere” (2010), “Letteratura e sopravvivenza” (2012) and the novels “The survivor”, with which the author won the XLIII edition of the Campiello Prize, “A romantic story” (2007, SuperMondello Prize), “The child who dreamed of the end of the world”, finalist for the Strega Prize 2009. In 2011 the novel, also released for Bompiani, “La seconda mezzanotte” and in 2013 “Il padre infedele”, still a finalist for the Premio Strega. His books are translated in many foreign countries.
For the Seventieth Anniversary of the Liberation
Screening of a documentary film by Archivio Luce
Italy was revived (1947, duration 21 min.), by Domenico Paolella.
Set partly in post-war Florence, the documentary offers a rare portrait of the Partisans during the Liberation War.
Sonora Suggestio (2015, 15 min.), by Cecilia Stacchiotti.
Florence bombed in 1943 in the unpublished images preserved in the Archivio Luce. Projection of beautiful and dramatic sequences sounded exclusively for the occasion by the artist Cecilia Stacchiotti in collaboration with Tempo Reale.
The images were shot for a documentary never made; the sequences have never been “encoded” to make common memory and concern the same theme of the documentary “Italy has awakened”.
“Working on images so far from my imagination and above all already full of meaning, of values linked to collective memory, I tried to recall through sound physical-sensory suggestions, rather than semantic contents, in the constant search for an intermediate point between the complete sonic fidelity to the visual content and, on the other hand, the total abstraction from the images.” – Cecilia Stacchiotti