Cinema of Italy
The cinema of Italy comprises the films made within Italy or by Italian directors. Since its beginning, Italian cinema has influenced film movements worldwide. Italy is one of the birthplaces of art cinema and the stylistic aspect of film has been one of the most important factors in the history of Italian film. As of 2018, Italian films have won 14 Academy Awards for Best Foreign Language Film as well as 12 Palmes d'Or, one Academy Award for Best Picture and many Golden Lions and Golden Bears.
The history of Italian cinema began a few months after the Lumière brothers began motion picture exhibitions. The first Italian director is considered to be Vittorio Calcina, a collaborator of the Lumière Brothers later active from 1896 to 1905. The first films date back to 1896 and were made in the main cities of the Italian peninsula. These brief experiments immediately met the curiosity of the popular class, encouraging operators to produce new films until they laid the foundations for the birth of a true film industry. In the early 1900s, artistic and epic films such as Otello, The Last Days of Pompeii, L'Inferno, Quo Vadis, and Cabiria, were made as adaptations of books or stage plays. Italian filmmakers were using complex set designs, lavish costumes, and record budgets, to produce pioneering films. In the early years of the 20th century, silent cinema developed, bringing numerous Italian stars to the forefront until the end of World War I.
The oldest European avant-garde cinema movement, Italian futurism, took place in the late 1910s. After a period of decline in the 1920s, the Italian film industry was revitalized in the 1930s with the arrival of sound film. A popular Italian genre during this period, the Telefoni Bianchi, consisted of comedies with glamorous backgrounds. Calligrafismo was instead in sharp contrast to Telefoni Bianchi-American style comedies and is rather artistic, highly formalistic, expressive in complexity and deals mainly with contemporary literary material. While Italy's Fascist government provided financial support for the nation's film industry, notably the construction of the Cinecittà studios, it also engaged in censorship, and thus many Italian films produced in the late 1930s were propaganda films. A new era took place at the end of World War II with the birth of the influential Italian neorealist movement, reaching a vast consensus of audiences and critics throughout the post-war period, and which launched the directorial careers of Luchino Visconti, Roberto Rossellini, and Vittorio De Sica. Neorealism declined in the late 1950s in favour of lighter films, such as those of the Commedia all'italiana genre and important directors like Federico Fellini and Michelangelo Antonioni. Actresses such as Sophia Loren, Giulietta Masina and Gina Lollobrigida achieved international stardom during this period.
From the mid-1950s to the end of the 1970s, Commedia all'italiana and many other genres arose due to auteur cinema, and Italian cinema reached a position of great prestige both nationally and abroad. The Spaghetti Western achieved popularity in the mid-1960s, peaking with Sergio Leone's Dollars Trilogy, which featured enigmatic scores by composer Ennio Morricone, which have become popular culture icons of the Western genre. Erotic Italian thrillers, or giallo, produced by directors such as Mario Bava and Dario Argento in the 1970s, influenced the horror genre worldwide. Since the 1980s, due to multiple factors, Italian production has gone through a crisis that has not prevented the production of quality films in the 1990s and into the new millennium, thanks to a revival of Italian cinema, awarded and appreciated all over the world. During the 1980s and 1990s, directors such as Ermanno Olmi, Bernardo Bertolucci, Giuseppe Tornatore, Gabriele Salvatores and Roberto Benigni brought critical acclaim back to Italian cinema, while the most popular directors of the 2000s and 2010s were Matteo Garrone, Paolo Sorrentino, Marco Bellocchio, Nanni Moretti and Marco Tullio Giordana.
The country is also famed for its prestigious Venice Film Festival, the oldest film festival in the world, held annually since 1932 and awarding the Golden Lion; In 2008 the Venice Days, a section held in parallel to the Venice Film Festival, has produced in collaboration with Cinecittà studios and the Ministry of Cultural Heritage a list of a 100 films that have changed the collective memory of the country between 1942 and 1978: the "100 Italian films to be saved".
The David di Donatello Awards are one of the most prestigious awards at national level. Presented by the Accademia del Cinema Italiano in the Cinecittà studios, during the awards ceremony, the winners are given a miniature reproduction of the famous statue. The finalist candidates for the award, as per tradition, are first received at the Quirinal Palace by the President of Italy. The event is the Italian equivalent of the American Academy Awards.
History
1890s
The history of Italian cinema began a few months after the French Lumière brothers, who made the first public screening of a film on 28 December 1895, an event considered the birth of cinema, began motion picture exhibitions. The first Italian director is considered to be Vittorio Calcina, a collaborator of the Lumière Brothers, who became the official photographer of the House of Savoy, the Italian ruling dynasty from 1861 to 1946. In this role he filmed in 1896 the first Italian film, Sua Maestà il Re Umberto e Sua Maestà la Regina Margherita a passeggio per il parco a Monza, believed to have been lost until it was rediscovered by the Cineteca Nazionale in 1979.The Lumière brothers commenced public screenings in Italy in 1896 starting in March, in Rome and Milan; in April in Naples, Salerno and Bari; in June in Livorno; in August in Bergamo, Bologna and Ravenna; in October in Ancona; and in December in Turin, Pescara and Reggio Calabria. Not long before, in 1895, Filoteo Alberini patented his "kinetograph", a shooting and projecting device not unlike that of the Lumières brothers.
Italian Lumière trainees produced short films documenting everyday life and comic strips in the late 1890s and early 1900s. Before long, other pioneers made their way. Italo Pacchioni, Arturo Ambrosio, Giovanni Vitrotti and Roberto Omegna were also active. The success of the short films was immediate. The cinema fascinated with its ability to show distant geographic realities with unprecedented precision and, vice versa, to immortalize everyday moments. Sporting events, local events, intense road traffic, the arrival of a train, visits by famous people, but also natural disasters and calamities are filmed.
Titles of the time include, Arrivo del treno alla Stazione di Milano , La battaglia di neve , La gabbia dei matti , Ballo in famiglia , Il finto storpio al Castello Sforzesco and La Fiera di Porta Genova , all shot by Italo Pacchioni, who was also the inventor of a camera and projector, inspired by the cinematograph of Lumière brothers, kept at the Cineteca Italiana in Milan.
If the interest of the masses were enthusiastic, the technological novelty would likely be snubbed, at least at the beginning, by intellectuals and the press. Despite initial doubt, in just two years, cinema climbs the hierarchy of society, intriguing the wealthier classes. On 28 January 1897, prince Victor Emmanuel and princess Elena of Montenegro attended a screening organized by Vittorio Calcina, in a room of the Pitti Palace in Florence. Interested in experimenting with the new medium, they were filmed in S.A.R. il Principe di Napoli e la Principessa Elena visitano il battistero di S. Giovanni a Firenze and on the day of their wedding in Dimostrazione popolare alle LL. AA. i Principi sposi .
1900s
In the early years of the 20th century, the phenomenon of itinerant cinemas developed throughout Italy, providing literacy of the visual medium. This innovative form of spectacle ran out, in a short time, a number of optical attractions such as magic lanterns, cinematographers, stereoscopes, panoramas and dioramas that had fueled the European imagination and favoured the circulation of a common market for images. The nascent Italian cinema, therefore, is still linked to the traditional shows of the commedia dell'arte or to those typical of circus folklore. Public screenings take place in the streets, in cafes or in variety theatres in the presence of a swindler who has the task of promoting and enriching the story.Between 1903 and 1909 the itinerant cinema Italian film was quieting, until then considered as a freak phenomenon, took on consistency assuming the characteristics of an authentic industry, led by four major organizations: Titanus, the first italian film production company and the largest and probably the most famous film house in Italy founded by Gustavo Lombardo at Naples in 1904, Cines, based in Rome; and the Turin-based companies Ambrosio Film and Itala Film. Other companies soon followed in Milan, and these early companies quickly attained a respectable production quality and were able to market their products both within Italy and abroad. Early Italian films typically consisted of adaptations of books or stage plays, such as Mario Caserini's Otello and Arturo Ambrosio's 1908 The Last Days of Pompeii, an adaptation of the homonymous novel by Edward Bulwer-Lytton. Also popular during this period were films about historical figures, such as Caserini's Beatrice Cenci and Ugo Falena's Lucrezia Borgia.
File:La presa di Roma.webm|thumb|Video of La presa di Roma by Filoteo Alberini
In 1905, Cines inaugurated the genre of the historical film, which in this decade gave a great fortune to many Italian filmmakers. One of the first of these films was La presa di Roma, lasting 10 minutes, and made by Filoteo Alberini. The operator employs for the first time actors of theatrical origin, exploiting the historical argument in a popular and pedagogical key. The film, assimilating Manzoni's lesson of making historical fiction plausible, reconstructs the Capture of Rome on 20 September 1870.
The discovery of the spectacular potential of the cinematographic medium favoured the development of a cinema with great ambitions, capable of incorporating all the cultural and historical suggestions of the country. Education is an inexhaustible source of ideas, ideas that are easily assimilated not only by a cultured public but also by the masses. Dozens of characters from texts make their appearance on the big screen such as the Count of Monte Cristo, Giordano Bruno, Judith beheading Holofernes, Francesca da Rimini, Lorenzino de' Medici, Rigoletto, Count Ugolino and others. From an iconographic point of view, the main references are the great Renaissance and neoclassical artists, as well as symbolists and popular illustrations.