The Italian cinema is to be saved. Rita Picchi asks whether the role of savior will be covered by our South. Provocative question that at the end of this book published by Kurumuny remains deliberately without a definitive answer.
Rita Peaks theater critic and author, thinks that in his passionate work on the possible future of our film industry by choosing the vantage point of some southern writers. Through thematic analysis of the characters, such as rubies, Winspeare, Roberta Torre, and others, Rita Peaks offers a sort of journey back, but always with an eye to the future, to the origins of a cinematic approach to the South and the ethnographer Ernesto De Martino thematic contribution to Italian cinema. If
is true, as the director Cecilia Mangini in the introduction, that the cinema was a "constantly renewed through feedback of the real," a window on the contemporary and the opportunity for a critical comparison with the sometimes bumpy path of our society, Rita Peaks offers a rediscovery of this role. Too often, we as spectators tried in recent years a greater distance between the themes and characters on the screen and our daily lives. Scrolling titles produced in recent years is easy to see that, although made with a good quality Italian films basically talking about a country that does not exist. They say mostly love stories, starring young milf in distress, confused, on average, wealthy and struggling with their own little world and their life problems. Without great ideals, the policy gradient background, cinema Italian has given us stories painless, unable to upset or offend anyone, but rather peacefully mingle with each other. Goffredo Fofi wrote twenty years ago instead of "the cinema is more vital than in the countries in which the contradictions are explosive, especially in the South." For a film so distracted was offset by a suburban cinema, far from the capitals of the big screen, and by virtue of this distance is able to catch the contradictions of existence. "Perhaps, writes Rita Peak, this art should find a way to make it come alive. Contaminated with the moods, often with unpleasant body odors, smelly, and the gaps in mind, the sudden short circuit: a portion of irrationality unsustainable and the courage to really dirty hands. "
It 's a movie, one told by Rita Peak, which feeds on a South as a place of roots and soul, a place still able to disturb the vision, serving as a look at more real. It 's a film steeped in anthropological studies of Ernesto De Martino, driven by scientific rigor and civic passion. And by that same desire for nonconformity that led some young filmmakers in the fifties and sixties, groped in the story of the South of the great economic and social changes of the so-called economic boom, with the same air of controversy and with the same passion civil. The above examples are many, Stendal by Cecilia Mangini, documentary reconstruction of a dirge, to anthropological films inspired by Luigi Di Gianni.
The need therefore, if want to save the Italian cinema, is to move away from conventional patterns and predetermined, rediscovering the roots of cultural anthropology and not unsurprisingly, are common directors also far apart over the years. Rita Picchi does it for example emphasizing the link, and thematic areas, which is between the Gianfranco Mingozzi's documentary "La Taranta" and Edward Winspeare author of "pinched" and "Blood alive."
the end the author does not dissolve the doubt, we'll see if the screen will find that strength and that courage, if the authors of our cinema will produce films uneducated, ill-thinking, politically incorrect, but absolutely necessary. What is certain however that the South will still be a great opportunity for those who will be brave and curious eyes.
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