• Three ways of talking Cinema (breakfast with *)

    On: 1 Ottobre 2019
    In: Senza categoria
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    THREE WAYS OF TALKING CINEMA #1 (Nov 1 – h10.30/13.00)

    Found Footage Magazine, Revista Lumière, and Walden Magazine: three independent and international editorial projects dedicated to the creation and circulation of new ideas, reflections, and studies on cinema. A gathering, a chance to meet them, understand their working methods and their editing processes.
    Francisco Algarìn Navarro, Martin Grennberger, Cristina Martínez and César Ustarroz will be with us on the morning of Friday the 1st, and will curate three programs during the days of WOM.
    Found Footage Magazine is an independent and printed film journal distributed worldwide. It offers theoretical, analytical and informative content that hinges on the use of archival images in media production practices. FFM fills the void created by the fact that there has not been, up to this time, any forum for the collection and dissemination of information, critical thinking, and discussion of found footage cinema including all its manifestations: recycled cinema, essay film, collage film, compilation film, archival cinema, mash-up
    Walden is a film magazine published twice a year. The magazine was founded in 2012, and was an online publication up until 2015. Aside from publishing the magazine, Walden also arranges film screenings.
    Revista LUMIÈRE is a film magazine distributed both online and in print. The publication is self-published and self-financed thanks to its own sales and to the yearly contributions from the members of its General Assembly. Its goal is to cover in a rigorous fashion all of the paths of major interest of contemporary cinema along with tracing new ones coming from the past.

    THREE WAYS OF TALKING CINEMA #2 (Nov 2 – h10.30/13.00)

    Luca Ferri, Nomadica – Capo d’Orlando 2015, photo by Epifanio/Morello

    Luca Ferri is the Italian filmmaker that, in recent years – more than any other in Italy – has been able to rigorously experiment with different means of expression, formats, aesthetics, and themes. Together with composer Dario Agazzi, he contributed to the establishment of a personal reshaping of the relation between music and film. Despite living in an isolated village of the northern province, with his films, Luca Ferri intertwines and connects environments and people that are very different from each other. He approached us in the summer of 2012 and, from his film Magog/Ecce Ubu until today, his journey has been carried out with the self-production of three feature films and a series of superb short films.
    A long rendez vous with Luca Ferri on the morning of Saturday, November 2nd, preceded by the screening of his last work Pierino (2018, 70min, shot in S-VHS) on Friday, November 1st.

    Cane Caro (Dog, dear), Italia | 2012 | 16′
    Una società di servizi, by Luca Ferri and Enrico Mazzi, Italia | 2015 | 35′
    Colombi, Italia | 2016 | 20′

    THREE WAYS OF TALKING CINEMA #3 (Nov 3 – h10.30/13.00)

    Marco Melani, photo by Chema Prado

    Marco Melani. The man with the golden eye
    A meeting with Chiara Seghetto

    The golden eye of an obsessed cinéphile, a fine talker, an omnivore and unconventional critic, an insatiable film-eater. The man with the golden eye is a glimpse on Marco Melani, composed of meetings, unreleased testimonies, a blob of revenant substances, unexpected edits, found footage, fragments, readings, synaesthesias. All of it gathered over ten years and straining forward to a (non)ending. Marco Melani lived and crossed path with cinema between the late 1960s and the early 1990s. His collaboration with the festivals of Salsomaggiore, Taormina, and Turin originated from his networks of wisely intertwined authors and actors, pursuing newness with no fear of unhinging the art of film programming. To him, cinema is the incarnation of those who make it. Melani befriended many filmmakers with whom he collaborated: Bargellini, Iosseliani, Jarmusch, the Bertolucci brothers, Bressane, Amico, Gitai (the list is infinite). In the mid-80s, he entered the group of Fuori Orario and Blob (two avantgarde RAI programs): here, his video edits are dictated by an anarchist vision of cinema and by the uncommon interlocking that is ignited between them.


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  • Marco Melani – The Man with the Golden Eye

    On: 28 Gennaio 2019
    In: Senza categoria
    Views: 0

    Raccontare Melani non è un atto nostalgico, nasce piuttosto dalla convinzione che non possiamo fare a meno della sua eredità e della necessità di divulgare questo modo di fare, pensare e vivere il cinema. È un omaggio al suo incessante seminare che non si è mai preoccupato di raccogliere, alle sue scoperte e intuizioni, generosamente condivise piuttosto che rivendicate e sbandierate.

    Marco Melani è un cinéphile instancabile, ossessionato e rivoluzionario. Attivo a partire dalla fine degli anni ‘60 fino al 1996, anno della sua morte. “Parlatore” potente e raffinato, agisce il cinema, creando ponti e connessioni, tra registi provenienti da ogni parte del mondo, tra autori ed attori (la coppia Jarmush-Benigni), tra critici e registi, tra pubblico e autori. In questo attraversare e farsi attraversare dal cinema, Melani, abile rabdomante, coglie il nuovo, divulgandolo. Amos Gitai, Julio Bressane, Stavros Tornes, sono solo alcuni dei registi che grazie a lui hanno avuto in Italia un più facile riconoscimento di critica e pubblico.
    E’ attore e collaboratore dell’amico cineasta Piero Bargellini, con cui sperimenta nuove forme di espressione ispirate al New American Cinema; aiuto-regia e sceneggiatore di Gianni Amico; programmatore per i festival di Salsomaggiore, Taormina, Torino. Dall’85 collabora con la Rai: prima con Enrico Ghezzi per “La magnifica ossessione” (una maratona televisiva di quaranta ore per celebrare i 90 anni della prima proiezione pubblica dei Fratelli Lumiére), poi con tutto il gruppo di Blob e Fuoriorario.

    The Man with the Golden Eye è un progetto totalmente autonomo di Chiara Seghetto, con la collaborazione di nomadica.eu e il montaggio di Giuseppe Spina.
    La raccolta di materiali e testimonianze che compongono questo progetto è iniziata nel 2009.

    * * *

    Telling Melani’s story is not a nostalgic act, rather it comes from the belief that we can not do without his legacy and the need to divulge this way of doing, thinking and living cinema. It is a tribute to his incessant sowing that has never bothered to gather, to his discoveries and intuitions, generously shared rather than claimed and showed off.

    Marco Melani is a tireless, obsessed and revolutionary cinéphile. Active from the late 60s until 1996, the year of his death. Powerful and refined speaker, he acts the cinema, creating bridges and connections, between directors from all over the world, between authors and actors (the Jarmusch-Benigni duo), between critics and directors, between public and authors.
    He is an actor and collaborator of his filmmaker friend Piero Bargellini, with whom he experiments new forms of expression inspired by the New American Cinema; assistant director and screenwriter of Gianni Amico; programmer for the Salsomaggiore, Taormina, Turin film festivals. From 1985 he collaborates with Rai: first with Enrico Ghezzi for “The magnificent obsession” (a forty-hour television marathon to celebrate the 90th anniversary of the first public screening of the Lumière Brothers), then with the whole group of Blob and Fuoriorario.

    The Man with the Golden Eye is a totally autonomous project by Chiara Seghetto, with the collaboration of nomadica.eu and the editing of Giuseppe Spina.
    The collection of materials and testimonies that make up this project began in 2009.

    * * *

    link e altri materiali

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