Centro Sperimentale di Cinematografia (CSC)

The Centro Sperimentale di Cinematografia (CSC), founded in Rome in 1935, has come to signify Italian cinema education in acting, directing, photography, set design, costume design, screenwriting, sound production, editing, production and film animation (since 1983). The CSC has historically admitted a significant number of international students (more than 13 per cent) in the past 85 years. This collaborative article introduces the first comprehensive list of international students in three CSC disciplines: directing, photography and set design. It begins with historical and artistic perspectives addressing the ideal of diversity, the internationalization of culture and the sociopolitical context of studying cinema in Rome. This article also includes graphs and statistics that give a clear sense of the broad geographical representation of foreigners who studied at the CSC. A comprehensive list of their names, nationalities, specializations and year of their degrees is organized in two formats: one by geography and one by chronology. The aim of this article is also to set new research goals so as to broaden our understanding of whether and how the CSC’s Italian cinematic education impacted world cinema.

In this paper I will deconstruct the collaborative creative process with the computer in Prometeo. Tragedia dell'Ascolto by Luigi Nono (1984-85). Prometeo is particularly illustrative of the way in which the use of technology constructs both what is composed on paper (the score), as well as how the use of technology influences the listening (the public). I will report findings from a two-fold investigation: from one hand, an exhaustive study of source materials pertaining the generative process of sounds and software, including the score of the first performance (Venice, September 1984), and computer sketches from the first and second performance (as mentioned above, real-time synthesis was used only in these two occasions). I am pleased to present here, for the first time, figures taken from Alvise Vidolin diary of his meetings with Nono and his colleagues (from April 1984 to the second performance in Milan). Source analysis, however, is not sufficient to reveal the whole compositional/research project, and oral history is equally important (personal communications collected with interviews, discussions and/or e-mails). Researchers’ memories enable to explain certain technological developments, problems and solutions which have been adopted, and discover details and backgrounds in collaboration management (esp. section: Sound Design Thinking in Prometeo: achievements and bottlenecks).

Analisi dei documentari televisivi e dei corti di diploma del Centro Sperimentale di Cinematografia realizzati da Liliana Cavani fra il 1961 e il 1965. La lettura storico-critica è accompagnata dall'indagine stilistica e da una contestualizzazione nella società italiana degli anni sessanta.