EDITION 2019: JUNE 20-23
The cinema, a machine of truth or a lie. A primitive sequence of frames was born. And from there the historical errors of the galloping horse were discovered. The exact anatomy of the movement. The first images so exceptional that they seem alive. Do you get used to the surprise, and then? Then we try to increase the dose. The larger the device, more arms to maneuver it. Longer is the celluloid tape, a highly flammable tape.
It fascinated and aroused fear, like a dangerous and magical instrument of immortality; it captured only with so much light; faces that mimed the movements of the soul, the cinema made them mute but yet success was guaranteed.
The theater actors had to deal with the new scene. The pace was short, it seemed the same stage limited to the sides and on the ceiling, but it was not so, in front of them there was not the public but a cyclopic eye. The eye of the “beast”, cold and inquisitive.
So it was that the actress Eleonora Duse faced the cinema. She. An exciting and painful adventure. For the first time and for the first cinema.
The cinema terrified her and at the same time fascinated her. The present future of art and, shortly thereafter, much more. She only knew that she had to face it and she did it, but in her own way, eluding the eye of the Cyclops despite being the protagonist. Ash (Cenere).
In 1916 the greatest theater actress faced cinema as a modern performer.
“Keep me in the shade … hands reveal the face … will you understand what I feel? without words? ” she confessed to his director. That artist’s struggle against the medium that tends to overwhelm her.
The theaters placed the white cloths on the stage.
The cinema could overheat and blow everything up. Perhaps Eleonora would have preferred that tape burned. That eye betrayed her, it wasn’t her in that movie, she was a ghost. A few years passed. Once the technical limits have been overcome, made pure, the cinematography took the gallop of the governments for the use and consumption of the people.
“Cinematography is the strongest weapon” was the slogan of the dictator. The beast was tamed and used as a propaganda weapon.
Cinema and lies. The fake news of white phones. But also the Dadaist cries for freedom. The found footage of yesterday and today.
Cinema as a wonderful daze.
The evolutionary race of the cinematographic device, becomes a pony express in our hands, no longer a purebred horse, but hybridized to infinity and always lighter.
That “cinema” if it were therefore an animal, today would appear emptied of its flesh and animated by others subtle organs.
Images are imprinted in the ether. The dissolution of the beast’s body in numerical tracks.
This is what today is causing a crisis in the cinema hall. The knots come to a head (traduzione letterale) The chickens come home to roost (modo di dire), once the cinema itself put the theater in crisis! As photography did with painting. And so now the room is as thin as a black mirror tablet where our image collapse and we notice that the beast still lives there. The reflection of a contemporary narcissus. Sweet bulimic obsession. Dematerialization of body experiences.
Cinematography declined in a thousand forms, it is no longer cinematography, it is … no longer know what. The dematerialized cinema. The moving images remain. The time image remains. Now it is the work that interests us no longer the body of the “beast” as Eleonora called it. The artist, the author, the director today is more and more an antenna that transcribes those signals. What remains of the world today in that black mirror?
The cinema is a mutant among the mutants, always changing but its eye, cyclopean, is the same.