{"id":78380,"date":"2020-05-22T12:27:19","date_gmt":"2020-05-22T11:27:19","guid":{"rendered":"https:\/\/www.fondazionepirelli.org\/?p=78380"},"modified":"2022-04-21T13:42:18","modified_gmt":"2022-04-21T12:42:18","slug":"cinema-and-tv-in-pirelli-magazine","status":"publish","type":"post","link":"https:\/\/www.fondazionepirelli.org\/en\/activities\/stories-from-world-of-pirelli\/cinema-and-tv-in-pirelli-magazine\/","title":{"rendered":"Cinema and TV in Pirelli Magazine"},"content":{"rendered":"<p>During its twenty-five years of publication, <a href=\"https:\/\/www.rivistapirelli.org\/en\/\"><em>Pirelli <\/em>magazine<\/a> dealt with \u201cinformation and technology\u201d, covering everything that was modern and topical, keeping up to date with the changes sweeping across the world and society in the 1950s and \u201960s. As a mirror of the times, cinema could hardly fail to occupy an important place among the topics dealt with by the magazine, which were naturally entrusted to the <strong>most famous critics<\/strong> <strong>of the day<\/strong>. A great man of letters, <strong>Emilio Cecchi<\/strong> turned to cinema, and in one of his many pre-war travels across America he was intrigued by \u201c<strong>drive-in theaters<\/strong>\u201d and he talked about them to his Italian readers in the magazine in 1954. In 1961, the young but already very sharp-witted <strong>Tullio Kezich<\/strong> investigated the impact that television was having on traditional forms of entertainment, such as cinema and theatre. In 1967, the critic <strong>Morando Morandini<\/strong> referred to the American actor <strong>Jerry Lewis<\/strong> as the last true comedian in the world of cinema in the late 1960s.<\/p>\n<p>Born in Florence in 1884, and a pupil of Giuseppe Prezzolini and Giovanni Papini, <strong>Emilio Cecchi<\/strong> approached cinema as an intellectual and as a man of letters, bringing such classics as <strong>The Little World of the Past<\/strong> and <strong>The Betrothed<\/strong> to the silver screen in the 1940s. It was his fascination for cinema as a phenomenon, together with his travels in the United States, that inspired the article about \u201c<a href=\"https:\/\/www.rivistapirelli.org\/en\/selezione_antologica\/the-drive-in-cinema\/\">The drive-in cinema<\/a>\u201d, published in <em>Pirelli <\/em>magazine <strong>no. 1 of 1954<\/strong>. \u201cThis form of film show, which you watch while sitting in your car\u201d was soon to be known in Italy too as a \u201cdrive-in\u201d. In Cecchi\u2019s view, nobody in America in the 1950s \u201cwould be tempted to increase the number of cinemas, and wait for people who wouldn\u2019t come: while, like this, it\u2019s cinema, so to speak, that goes out to meet an motorised audience, offering them a show without them even bothering to get out of their cars\u201d. A curiosity: in East Dennis, Massachusetts, the \u201cdrive-in\u201d had also become a \u201c<strong>fly-in<\/strong>\u201d. \u201cThe ticket to the \u2018theatre\u2019 costs one dollar a head: whether you arrive by car or by plane. \u201c<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-78274 \" src=\"https:\/\/wpsite-assets.fondazionepirelli.org\/wp-content\/uploads\/2020\/05\/18125807\/RP_1961_02_Locchio-della-telecamera_005-231x300.jpg\" alt=\"\" width=\"313\" height=\"406\" srcset=\"https:\/\/wpsite-assets.fondazionepirelli.org\/wp-content\/uploads\/2020\/05\/18125807\/RP_1961_02_Locchio-della-telecamera_005-231x300.jpg 231w, https:\/\/wpsite-assets.fondazionepirelli.org\/wp-content\/uploads\/2020\/05\/18125807\/RP_1961_02_Locchio-della-telecamera_005-768x998.jpg 768w, https:\/\/wpsite-assets.fondazionepirelli.org\/wp-content\/uploads\/2020\/05\/18125807\/RP_1961_02_Locchio-della-telecamera_005-788x1024.jpg 788w, https:\/\/wpsite-assets.fondazionepirelli.org\/wp-content\/uploads\/2020\/05\/18125807\/RP_1961_02_Locchio-della-telecamera_005.jpg 1273w\" sizes=\"auto, (max-width: 313px) 100vw, 313px\" \/><\/p>\n<p>The thirty-three-year-old <strong>Tullio Kezich<\/strong> was already being hailed as a leading film critic in 1961, when he wrote a short essay called \u201c<a href=\"https:\/\/www.rivistapirelli.org\/en\/selezione_antologica\/the-eye-of-the-tv-camera\/\">The eye of the TV camera<\/a>\u201d for <em>Pirelli<\/em> magazine. The camera was, of course, that of the <strong>television<\/strong>, almost ten years after it had started entering Italian homes. \u201cHas TV stolen and does it continue to take away viewers from traditional forms of entertainment?\u201d And, as a result: \u201cIs there a process under way by which TV is destined to replace the public\u2019s preference for, and consumption of, theatre and cinema?\u201d The Trieste-born critic\u2019s response is neither obvious nor unequivocal: to some degree there is such a process, because the mechanisms of television have \u201c<strong>rules<\/strong>\u201d that are independent from those of more traditional media. To some degree it is not, because theatre, opera and ballet can never be reduced to the small screen without distorting their nature as empathetic and emotional shows. One thing that Kezich was sure of was that television had <strong>immediacy<\/strong> on its side, for it brings you into the \u201chere and now\u201d, and it has a sense of the present moment that a stage or a film set will never be able to convey. Even when showing just a goal being scored on a football pitch, the eye of the camera will always bring a sense of the present moment.<\/p>\n<p><strong>Morando Morandini<\/strong> worked for many a long year with <em>Pirelli <\/em>magazine, putting his name to the section devoted to the cinema. Attentive and critical, Morandini studied the customs and traditions of the big screen, and readers always looked forward to his articles, and indeed the magazine hosted many of his famous \u201cmaulings with no right of appeal\u201d. In a surprise move, in <em>Pirelli <\/em>magazine no. 2 of 1967, he looks at the work of an American comedian, <a href=\"https:\/\/www.fondazionepirelli.org\/archivio-storico\/bookreader\/pubblicazioni-e-riviste\/RivistaPirelli\/1967_2.html#page\/88\/mode\/2up\"><strong>Jerry Lewis,<\/strong><\/a> referring to him as \u201cthe James Dean of comedy, the only film comic on active duty with ingenuity, ideas, and a vision of the world\u201d. <em>Three on a Couch <\/em>had just come out in the cinemas, directed and played by the then forty-one-year-old actor. Criticising the dubbing, which he said did no justice to the \u201cspoken\u201d comedy of Lewis, who was known in Italy as \u201cPicchiatello\u201d, Morandini nevertheless writes an enthusiastic appreciation of the countless personalities that the actor manages to convey on screen, in the finest tradition of <strong>sophisticated comedy<\/strong>. Stigmatising the way critics at the time referred to Lewis as \u201cmonkey-like\u201d, using the nicknames \u201cId \u2013 Idiot\u201d and \u201cUg\u201d \u2013 Ugly \u201c, Morandini wondered who it was that, \u201cwith almost diabolical intelligence, has managed to use such offensive nicknames to create a personal mythology, a comic style, and a small industrial empire?\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>During its twenty-five years of publication, Pirelli magazine dealt with \u201cinformation and technology\u201d, covering everything that was modern and topical, keeping up to date with the changes sweeping across the world and society in the 1950s and \u201960s. As a mirror of the times, cinema could hardly fail to occupy an important place among the [&hellip;]<\/p>\n","protected":false},"author":9,"featured_media":78277,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[71,68],"tags":[307],"class_list":["post-78380","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-activities","category-stories-from-world-of-pirelli","tag-cinema-theater-entertainment"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.0 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Cinema and TV in Pirelli Magazine - Fondazione Pirelli<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fondazionepirelli.org\/en\/activities\/stories-from-world-of-pirelli\/cinema-and-tv-in-pirelli-magazine\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cinema and TV in Pirelli Magazine - Fondazione Pirelli\" \/>\n<meta property=\"og:description\" content=\"During its twenty-five years of publication, Pirelli magazine dealt with \u201cinformation and technology\u201d, covering everything that was modern and topical, keeping up to date with the changes sweeping across the world and society in the 1950s and \u201960s. As a mirror of the times, cinema could hardly fail to occupy an important place among the [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.fondazionepirelli.org\/en\/activities\/stories-from-world-of-pirelli\/cinema-and-tv-in-pirelli-magazine\/\" \/>\n<meta property=\"og:site_name\" content=\"Fondazione Pirelli\" \/>\n<meta property=\"article:published_time\" content=\"2020-05-22T11:27:19+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-04-21T12:42:18+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/wpsite-assets.fondazionepirelli.org\/wp-content\/uploads\/2020\/05\/18125811\/RP_1961_02_Locchio-della-telecamera_006-e1590136801799.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"580\" \/>\n\t<meta property=\"og:image:height\" content=\"429\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"fondazionepirelli\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"fondazionepirelli\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.fondazionepirelli.org\/en\/activities\/stories-from-world-of-pirelli\/cinema-and-tv-in-pirelli-magazine\/\",\"url\":\"https:\/\/www.fondazionepirelli.org\/en\/activities\/stories-from-world-of-pirelli\/cinema-and-tv-in-pirelli-magazine\/\",\"name\":\"Cinema and TV in Pirelli Magazine - 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