Papers by nicola mazzanti
Il Cinema ritrovato : teoria e metodologia del restauro cinematografico
... Author: Farinelli, Gian Luca; Mazzanti, Nicola Title Article/Chapter: "Metodologie e tec... more ... Author: Farinelli, Gian Luca; Mazzanti, Nicola Title Article/Chapter: "Metodologie e tecniche del restauro cinematografico" Title Translated English: "Methodology and techniques of film restoration" Title of Source: Il cinema ritrovato: teoria e metodologia del restauro ...
Colours, audiences, and (dis)continuity in the ‘cinema of the second period’
Film History: An International Journal, Jun 1, 2009
The essay confronts the issue of the relationship between silent film colour and its audience dur... more The essay confronts the issue of the relationship between silent film colour and its audience during the 'second period' of early cinema (approximately 1909 to 1917) by analyzing the practice of producing multiple versions of any given film. It also addresses the overall status of colour within the cultural context of the first decades of the twentieth century. The formal and narrative structure of these films, and therefore their implications for the study of early colour, are found to be unstable. It is shown that the use of applied colour in the cinema can be studied through a systematic analysis of the work of Film d'Arte Italiana in the years 1907–1917, because, as is not the case with most surviving films of the period, we possess unambiguous information regarding their colour schemes. The author outlines the complexity of these issues and suggests some possible interpretations and hypotheses – a rough map into what has been a largely uncharted territory.
Heritage, Feb 27, 2023
This article is an open access article distributed under the terms and conditions of the Creative... more This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY
La restauración de " Il processo Clémenceau
Archivos de la filmoteca: revista de estudios históricos sobre la imagen, 1994
Un paisaje que se aleja: arqueología y cine entre continuidad y ruptura
Il restauro: metodo e tecnica
Brunetta, Gian Piero [cur.], Storia del cinema mondiale, 2001
JOURNAL OF FILM PRESERVATION, 2013
on the occasion of the 75th anniversary of the Cinémathèque Royale de Belgique, a reflectIon abou... more on the occasion of the 75th anniversary of the Cinémathèque Royale de Belgique, a reflectIon about the role and missions of Film Archives, based upon the vision of the greatest of all film archivists, Jacques Ledoux, who headed the Cinémathèque and the )International Federation of Film Archiv$ES for decades.
“Limina/le soglie del film. Film’s Thresholds” (Udine 2004), 2004
The paper will comment on the question of the borders of a film text, focusing on their flexibili... more The paper will comment on the question of the borders of a film text, focusing on their flexibility and on the difficulties encountered in defining them. Openings and endings play a specific role when integrating films into marketing, screening, and viewing contexts, and endings in particular often undergo modifications for a variety of reasons. All sorts of narrative strategies are displayed and brought to decisive points at the beginnings and ends of films, and comparison of the different strategies constitutes the easiest way to understand their function, nature, and degree of success (after all, that’s why a Neanderthal is so inter-esting to us: is represents an unsuccessful strategy). And what better way to compare, un-derstand, and evaluate alternative strategies, than in the same movie when it exists in dif-ferent versions with different endings and openings? (
“Theories and Practices regarding the Reproduction and Conservation of Sound” , 2003
This paper intends to deal with some specific theoretical and technical problems in restoring sou... more This paper intends to deal with some specific theoretical and technical problems in restoring sound for film, problems which-in my opinion-help focusing a range of issues having a wider impact on some basic methodological questions in film restoration praxis and theory.
L.Comencini (ed.by), Restauro, Conservazione e Distruzione dei film (Milano, 2001), 2001
As we all know, a "theory of film restoration" does not yet exist. We do not even have a secure, ... more As we all know, a "theory of film restoration" does not yet exist. We do not even have a secure, common lexis. And it is hardly surprising: as restoration is not defined, then neither are the terms that support it, nor the activities in which it consists.
And so here is what we will try to do in this publication: nominate some concepts and some objects that are in some way “on the side of restoration”, convinced as we are that a good starting point for a discussion on method (and which will therefore take us onto a theory) consists in patiently seeking a definition of “restoration”, or at least understanding what we mean when we use that term.
And so here is what we will try to do in this publication: nominate some concepts and some objects that are in some way “on the side of restoration”, convinced as we are that a good starting point for a discussion on method (and which will therefore take us onto a theory) consists in patiently seeking a definition of “restoration”, or at least understanding what we mean when we use that term.
Workshop on “Digital Cinema” IST - Directorate D - Network and Communication Technologies, 2006
A very early discussion of Archival perspective on the advent of Digital Cinema, when this was st... more A very early discussion of Archival perspective on the advent of Digital Cinema, when this was still a possibility; not yet a reality. An attempt to shape EU policy on the matter. "One thing which the industry and the community of Archives have in common is the understanding that the issue of archiving Digital Cinema products for long term preservation is a core one. Similarly, both groups recognize that the exploitation of, and access to archival materials is a key issue in a successful deployment of D-Cinema, and thus it is to have a beneficial effect to both the European market and the European culture."
Storia del cinema mondiale, Vol 5 , 2001
Il restauro cinematografico: una breve discussione sulla sua definizione, il metodo e le tecniche... more Il restauro cinematografico: una breve discussione sulla sua definizione, il metodo e le tecniche, queste ultime in ambito analogico e pre-digitale.
Catalogue, 2003
The principle that the best place to hide something is where everyone can see it (cf Alfred Hitch... more The principle that the best place to hide something is where everyone can see it (cf Alfred Hitchcock, Family Plot) applies perfectly to the various versions of Il Bidone that appeared after its Venice premiere on 9 th September 1955. Each one was presented amidst wide publicity, reviewed in different ways by the contemporary press (obviously alert to any works by the director who had just won an Oscar for La Strada) and shown all over the world. And yet, at the same time, each was perfectly hidden, substantially unknown to the critics, historians and public and profoundly different from the others. Nevertheless, they have all been made identical by oblivion or the mists of unfocused memory.
AMIA TECH REVIEW , 2011
The advent of Digital Cinema seen from the point of view of Long Term Digital Conservation and Fi... more The advent of Digital Cinema seen from the point of view of Long Term Digital Conservation and Film Archiving: Opportunities, challenges and practical lessons learned from an early adopter (or victim, if you will...)
Heritage
Since 1895, through the analog and the digital eras, color is among the many narrative and aesthe... more Since 1895, through the analog and the digital eras, color is among the many narrative and aesthetic tools cinema language used in its creative process to shape a unique, multi-sensorial experience for its audience. Over these 120+ years, endless cinema color techniques, technologies, aesthetics, and ideologies came and went. One thing that stayed the same is that color in cinema, more than a technology, is a complex system made up by many components: filmmakers’ ideas and intent, negotiations with the audience, technologies (such as film stocks, chemicals, cameras, printers, developing machines, projectors), and laboratory processes and practices. Taken individually, none of these elements tells the whole story of color use and experience in cinematographic works. This complexity adds to the fact that much of film color technology history is not recorded in books, journals and patents and is often forgotten as so much of it relies on individuals’ practices and memories. Consequentl...
Oberflächen und Interfaces
A movie, a film, a cinematographic work-what is it that we are talking about? What is the relatio... more A movie, a film, a cinematographic work-what is it that we are talking about? What is the relation between a 'film as a work' and a 'film as a physical object'? Or, in other words, between a film and its materiality? Is today a film still a film even without the film stock?
9.1 POPD – Requirement No. 4
KK-31-12-460-EN-N Disclaimer: The opinions expressed in this study are those of the authors and d... more KK-31-12-460-EN-N Disclaimer: The opinions expressed in this study are those of the authors and do not necessarily reflect the views of the European Commission © European Union, [2011] Reproduction is authorised provided the source is acknowledged, save where otherwise stated. Where prior permission must be obtained for the reproduction or use of textual and multimedia information (sound, images, software, etc.), such permission shall cance the above mentioned general permission and shall clearly indicate any restrictions on us For the reproduction of third-party literary or artistic material (drawings, photos, audio, video, etc;) incorporated in the documents, permission must be sought directly from the copyright holder. Table of Contents 1. Foreword 7
La restauración de " Il processo Clémenceau
D2.2 User Requirements – Analysis of Business, System Requirements