Il progetto Turconi

mare
un fotogramma qualsiasi…

Quando ero piccola collezionavo fotogrammi di film. Grazie all’amicizia dei miei genitori con il proprietario di alcune sale di cinema, avevo un accesso privilegiato alle cabine di proiezione. Molti di quei fotogrammi appartenevano a film che non potevo vedere, in ragione della mia giovane età, ma faceva lo stesso perchè era una gioia vedere queste immagini proiettate nella parete di camera mia (avevo costruito un rudimentale proiettore di diapositive con una scatola di scarpe). Andai avanti collezionando pezzi di pellicola per molti anni. I fotogrammi erano sempre scarti, fine di un rullo, rottura della pellicola, ecc.

Con questo retroscena alle spalle, e la passione per il cinema muto che mi ritrovo, ho seguito le vicende dei 23.491 fotogrammi dell’archivio Turconi con grande interesse. Un paio di anni fa ho potuto assistere alla presentazione del progetto alle Giornate del Cinema Muto, e adesso l’archivio è finalmente online. Complimenti a tutti per il lavoro, ma…

Se dico quello che penso probabilmente finirò per chiudermi tutte le porte nell’ambiente degli storici del cinema, archivi, cineteche, ecc. Soltanto un ragionamento, appoggiandomi in quello che ha pubblicato l’eccellente The Bioscope:

What one senses, however, is that a great many of these films have been identified by the BFI National Archive, which had the advantage of cataloguing from entire films (or rather films entire except for a few frames missing). How much work has been done to marry up the two collections? The website does not say. How wonderful it would be if there could be a bringing together of clips, data, catalogue records and films into a single online resource. It’s the sort of project that forward-thinking educationalist Joseph Joye would take today if he could. Let’s hope that the Turconi Project is a first step towards something even greater.

Il ragionamento è questo: Io credo che tutti questi fotogrammi dovrebbero ritornare alle copie, si dovrebbe reintegrare le copie. Non capisco, sarebbe meglio dire che non condivido, i motivi per non averlo fatto tanti anni fa, quando il National Film Archive acquisì il fondo Joye.

La natura è nel pensiero

Ho riflettuto molto a proposito del post Thought waves, pubblicato nel sito The Bioscope qualche giorno fa. Un teoria certamente affascinante. La riflessione mi ha riportato (in mente) questo testo di Oscar Wilde che ho letto tanti anni fa, e adesso, se volete, potete leggere gratis online:

Nature is no great mother who has borne us. She is our creation. It is in our brain that she quickens to life. Things are because we see them, and what we see, and how we see it, depends on the Arts that have influenced us. To look at a thing is very different from seeing a thing. One does not see anything until one sees its beauty. Then, and then only, does it come into existence. At present, people see fogs, not because there are fogs, but because poets and painters have taught them the mysterious loveliness of such effects. There may have been fogs for centuries in London. I dare say there were. But no one saw them, and so we do not know anything about them. They did not exist till Art had invented them. Now, it must be admitted, fogs are carried to excess. They have become the mere mannerism of a clique, and the exaggerated realism of their method gives dull people bronchitis. Where the cultured catch an effect, the uncultured catch cold. And so, let us be humane, and invite Art to turn her wonderful eyes elsewhere. She has done so already, indeed. That white quivering sunlight that one sees now in France, with its strange blotches of mauve, and its restless violet shadows, is her latest fancy, and, on the whole, Nature reproduces it quite admirably. Where she used to give us Corots and Daubignys, she gives us now exquisite Monets and entrancing Pissaros. Indeed there are moments, rare, it is true, but still to be observed from time to time, when Nature becomes absolutely modern. Of course she is not always to be relied upon. The fact is that she is in this unfortunate position. Art creates an incomparable and unique effect, and, having done so, passes on to other things. Nature, upon the other hand, forgetting that imitation can be made the sincerest form of insult, keeps on repeating this effect until we all become absolutely wearied of it. Nobody of any real culture, for instance, ever talks nowadays about the beauty of a sunset. Sunsets are quite old-fashioned. They belong to the time when Turner was the last note in art. To admire them is a distinct sign of provincialism of temperament. Upon the other hand they go on… (Intentions 1913)

Chiedo scusa ai lettori italiani ma non sono riuscita a trovare la traduzione.