The chapter focuses on the Italian economic miracle, a particularly thriving season in industrial cinema, examining mainly two aspects: the presence of electronic music (made of synthetic and/or concrete sound) and the cooperation of composers ascribable to music avant-gardes, who all together produced one of the most significant changes in industrial cinema soundscape. Among the names of the composers involved in filmmaking of one or more industries, there are authors like Luciano Berio, Vittorio Gelmetti, Angelo Francesco Lavagnino, Egisto Macchi, Gino Marinuzzi jr, Franco Potenza. At this stage the years 1959-1960 were crucial: products like the CNEN film "Ispra 1" (Gian Luigi Lomazzi, 1959; music by Luciano Berio) or Olivetti film "Elea classe 9000" (Nelo Risi, 1960; music by Luciano Berio) are destined to profoundly influence the following development of this genre, marked by experimental industrial films of remarkable audiovisual and musical impact. Among them, Italsider film "Il pianeta acciaio" (Emilio Marsili, 1962; music by Franco Potenza), FIAT film "F4CB. Acciaio su misura" (Victor de Sanctis, 1965; music by Angelo Francesco Lavagnino), the many ENI films with music by Egisto Macchi – such as the famous feature film "La via del petrolio" (Bernardo Bertolucci, 1967) – and Virgilio Tosi’s CNEN productions with music by Franco Potenza, not to mention FIAT and Olivetti productions of the end of the Sixties with music by Vittorio Gelmetti. The chapter also deals with theoretical and methodological problems, which have led to proposing a semiotic-structural approach to audiovisual communication, with a special emphasis on the part played by the sound component and especially by music.

A music semiotic perspective on the Italian industrial cinema of the economic miracle: the technology paradigm and the modes of audiovisual representation

CECCHI, ALESSANDRO
2014-01-01

Abstract

The chapter focuses on the Italian economic miracle, a particularly thriving season in industrial cinema, examining mainly two aspects: the presence of electronic music (made of synthetic and/or concrete sound) and the cooperation of composers ascribable to music avant-gardes, who all together produced one of the most significant changes in industrial cinema soundscape. Among the names of the composers involved in filmmaking of one or more industries, there are authors like Luciano Berio, Vittorio Gelmetti, Angelo Francesco Lavagnino, Egisto Macchi, Gino Marinuzzi jr, Franco Potenza. At this stage the years 1959-1960 were crucial: products like the CNEN film "Ispra 1" (Gian Luigi Lomazzi, 1959; music by Luciano Berio) or Olivetti film "Elea classe 9000" (Nelo Risi, 1960; music by Luciano Berio) are destined to profoundly influence the following development of this genre, marked by experimental industrial films of remarkable audiovisual and musical impact. Among them, Italsider film "Il pianeta acciaio" (Emilio Marsili, 1962; music by Franco Potenza), FIAT film "F4CB. Acciaio su misura" (Victor de Sanctis, 1965; music by Angelo Francesco Lavagnino), the many ENI films with music by Egisto Macchi – such as the famous feature film "La via del petrolio" (Bernardo Bertolucci, 1967) – and Virgilio Tosi’s CNEN productions with music by Franco Potenza, not to mention FIAT and Olivetti productions of the end of the Sixties with music by Vittorio Gelmetti. The chapter also deals with theoretical and methodological problems, which have led to proposing a semiotic-structural approach to audiovisual communication, with a special emphasis on the part played by the sound component and especially by music.
2014
Cecchi, Alessandro
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11568/657271
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