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Vissi d’Arte
PER UN CINEMA AUTOBIOGRAFICO
VISIONI DI UNO SPETTATORE
Appunti sull'audiovideo
Dialoghi sull'audiovideo
Author statement
Nota di montaggio de 'La Battaglia'
Sinossi de 'La Vigilia'
Synopsis of 'The Vigil'
Su 'La Vigilia'
Lista dei dialoghi in inglese de 'La Vigilia'
Email a Lorenzo su 'Vissi d'Arte'
Seconda email a Lorenzo su 'Vissi d'Arte'
Note di regia su 'La Relazione'
Note di pre-montaggio de 'La Relazione'
La Relazione - limatura del testo parlato
Vissi d'Arte - sinossi per Pesaro 2005
Vissi d'Arte - dialoghi per Pesaro 2005
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Author statement


Why I asked that my audiovideos not be projected on the big screen.


I believe that cinema is dying. By that I mean the historic form of audiovisual art that presupposes film stock, the large theatre, the big screen, the mass public, and the circus: the camera and cameraman, the lights and the cinematographer, the dolly and the operator, the set and the artistic designer, the costumes and the costume designer, the actress and the make-up artist. The list of all the devices needed to create film goes on, devices that up until yesterday inevitably came between the onlooker and the event, the spectator and the work. Cinema is dying because the historical social model that created it and kept it alive is dying: the society of political parties, of labour and farm unions, of nationstates, of mass movements. From its ashes (still hot and full of burning embers) another society is growing, which is building a different kind of audiovisual art from, the principal product of which is exactly the “audiovideo” that I am going to present. Naturally, I am speaking about my audiovideos because, having made them, I know them best, and because deep down a director theorises about his work. So, let us set aside Leonardo Sciascia Self-Portrait and Vittorio De Sica Self-Portrait, two edited videos that I created for Italian television (Rai Educational) using only archival material, and let us examine La Vigilia, an audiovideo that I shot (shot?) in Santiago de Chile and edited (edited?) in Rome, in the beginning of 2001. Between the spectator and the work there is no more circus: the protagonist turns on the camera and records and is recorded. A subjective shot finally directed and justified. The first audiovideo work was born: first person singular of the present indicative. I audio and video for you, single subject spectator. This realism is different from New and True Realism, in which one saw and heard through an invisible witness that, however, substituted the circus; and different from “Nouvelle” and “Vague” Realism, with its ostentatious presentation of the circus in the frames and in the conspicuous editing. Yet this aspect of the audiovideo is not only a new technical possibility, a new material condition that is fundamental, however, for the very reason that the condition is essential to the endeavour itself. To quote Karl Marx (you remember his marvellous Preface to A Contribution to the Critique of Political Economy?): “Mankind always sets itself only such tasks as it can solve; since, looking at the matter more closely, it will always be found that the task itself arises only when the material conditions of its solution already exist or are at least in the process of formation”. The audiovideo is also a new category of linguistic effects, to practice and to theorise about: from the already established material conditions to the practical and theoretical initiatives that are possible and therefore necessary. Therefore, to get back to the screening, the watching and listening of audiovideo works should be done, for the love of clarity and with the art of consequence, with a video player and a television (“Everything that is excess comes from evil.”). In front of which are a handful of spectators who know and recognise each other, a handful of you.