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PRODUCERS AND PRODUCTION PRACTICES IN THE HISTORY OF ITALIAN CINEMA 1949-75

1949-75 年意大利电影史上的制片人和制作实践

基本信息

批准号：
AH/N004221/1
负责人：
Stephen Gundle
金额：
$ 91.55万
依托单位：
University of Warwick
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2016
资助国家：
英国
起止时间：
2016 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FN004221%2F1
关键词：
PRODUCERS PRODUCTION PRACTICES HISTORY ITALIAN

项目摘要

Between 1949 and 1975 Italian cinema became one of the world's major suppliers of films. It was second only to Hollywood in the share it took of most European and several extra-European markets. With its numerous prizes at major festivals, it commanded artistic credibility. It also furnished numerous genre films. The reasons for its success are normally given as follows: the creative genius of a number of directors, the inter-relationship established between Italian cinema and American cinema in the postwar years, the pattern of European co-productions, the existence of quality middle-level productions, as well as low-budget genre ones, and the formation of a distinctive star system. However, the amount of detailed work on the industry is small and not systematic. The role of producers is rarely mentioned in histories of Italian film, which focus on directors, currents and tendencies, film texts and, more rarely, actors. This project will explore the history of Italian cinema from the point of view of production. It will examine the role played by producers in the film industry, study their function as mediators and facilitators in a complex situation of international collaborations, evaluate their relations with governments, their business strategies, their visions of cinema and the turning of these into practices, as well as their collaboration with directors, writers and actors. The intention is to provide a completely new interpretation of postwar Italian cinema by: exploring the real premises, parameters and conditions of creativity, challenging established distinctions between cinema as art and as industry, exploring individual profiles and modes of conduct, inquiring into the links between different levels of production, exploring the distribution and exhibition of cinema in a number of markets, and re-thinking the 'Italian-ness' of 'Italian' cinema. In many cases, producers provided greater continuity over time than directors or other professionals. They were crucial in establishing infrastructures and inter-personal patterns of collaboration, as well as facilitating multi-national collaborations and distribution. Due to their role, the Italian industry became a laboratory of innovative forms and flexible patterns of production that drew in investors, directors, technical personnel and actors from many countries. It set a benchmark for emergence of other national industries and determined patterns of multinational and supranational film production. This project is timely now for six main reasons. First, the personal papers of a number of producers, industry organisms and others have in recent years been deposited in public archives, where they have not yet in most cases been catalogued or studied. Second, there is the possibility, within the framework of the project, of securing the transfer of further papers into the public realm and of making these available for consultation. Third, the surviving producers of the period in question - which may be considered the golden age of Italian cinema - are now elderly and thus there is a limited time-frame in which their oral testimonies can be collected. Fourth, the climate of scholarship is such that questions concerning the role of industry and finance can be considered in ways that were difficult in a period when they were regarded ideologically (i.e. considered as capitalist deformations detrimental to the development of cinematic art); there is now a movement of interest around issues of production and co-production which is conducive to new research. Fifth, it is possible to assemble a group of scholars with the necessary skills to be able to conduct the research. Sixth, there is an opportunity for institutional collaboration between Italy and the UK which can bring about great advances in scholarship, in facilitating the greater availability of resources for future scholars, and in ensuring public engagement with the materials and results of the project.

1949年至1975年间，意大利电影成为世界上主要的电影供应商之一。在大多数欧洲和几个欧洲以外的市场上，它的份额仅次于好莱坞。它在各大节日中获奖无数，赢得了艺术信誉。它还提供了许多类型电影。它成功的原因通常是：一些导演的创造性天才，战后意大利电影和美国电影之间建立的相互关系，欧洲联合制作的模式，存在高质量的中级制作，以及低成本的类型制作，以及独特的星星系统的形成。然而，关于该行业的详细工作量很小，也不系统。制片人的角色在意大利电影史中很少被提及，主要集中在导演，潮流和趋势，电影文本以及更少的演员。这个项目将从制作的角度探索意大利电影的历史。它将研究制片人在电影业中所扮演的角色，研究他们在国际合作的复杂情况下作为调解人和促进者的功能，评估他们与政府的关系，他们的商业战略，他们对电影的愿景以及将其转化为实践，以及他们与导演，作家和演员的合作。其目的是通过以下方式对战后意大利电影进行全新的诠释：探索创造力的真实的前提、参数和条件，挑战电影作为艺术和工业之间的既定区别，探索个人形象和行为模式，探究不同生产水平之间的联系，探索电影在一些市场的分销和展览，并重新思考“意大利”电影的“意大利性”。在许多情况下，制片人比导演或其他专业人士提供了更大的连续性。它们在建立基础设施和人际合作模式以及促进多国合作和分销方面至关重要。由于他们的作用，意大利工业成为创新形式和灵活生产模式的实验室，吸引了来自许多国家的投资者、导演、技术人员和演员。它为其他民族工业的出现树立了一个基准，并确定了跨国和超国家电影制作的模式。这个项目现在很及时，主要有六个原因。首先，近年来，一些生产者、工业组织和其他人的个人文件存放在公共档案馆，在大多数情况下，这些文件尚未被编目或研究。第二，在该项目的框架内，有可能确保将更多的文件移交给公众，并提供这些文件供协商。第三，所涉时期-可被视为意大利电影的黄金时代-幸存的制片人现已年迈，因此，收集他们的口头证词的时间有限。第四，学术的氛围是这样的，关于工业和金融的作用的问题可以以在意识形态上被视为（即被视为不利于电影艺术发展的资本主义变形）的时期很难考虑的方式来考虑;现在有一个围绕生产和联合生产问题的兴趣运动，这有利于新的研究。第五，有可能召集一批具有必要技能的学者进行研究。第六，意大利和英国之间有机会进行机构合作，这可以在奖学金方面取得巨大进步，为未来的学者提供更多的资源，并确保公众参与该项目的材料和成果。