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Although most of his film production begins with the caption: “An experimental film by the CineGuf of Venice”, Pasinetti’s experimentalism appears in unpredictable ways. This inclination has been interpreted as a “primitive, juvenile, auroral phenomenon”, and these aspects need to be investigated according to styles and modes that contributed to create it, without omitting its historical context, nor the 1930s Italian aesthetics. The phenomenon can be seen as a real experimental behaviour applied to a kind of cinema – like documentary or feature film – to which it can seem, at first glance, unrelated. What we want to propose is a reinterpretation of Pasinetti’s cinema that underlines its essence of ‘visual narrative’. From the early and auroral Entusiasmo (1932), passing through the innovative Il canale degli Angeli (1934), in order to arrive at the peculiar framework of reality in the series of surgical documentaries, and at the movies about art and artists (Pittori Impressionisti, Arte Contemporanea), Pasinetti’s works are a manifestation of that cinema interpreted as a “complex entirety” that “is irrefutably part of the practical activity”.

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“Experimental Cinema Is Not an End in Itself”: Pasinetti’s Role at the Beginning of Experimentalism

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  • 发表日期：

    2025年

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  • Carlotta Guido,
  • Valentina Valente

摘要

Although most of his film production begins with the caption: “An experimental film by the CineGuf of Venice”, Pasinetti’s experimentalism appears in unpredictable ways. This inclination has been interpreted as a “primitive, juvenile, auroral phenomenon”, and these aspects need to be investigated according to styles and modes that contributed to create it, without omitting its historical context, nor the 1930s Italian aesthetics. The phenomenon can be seen as a real experimental behaviour applied to a kind of cinema – like documentary or feature film – to which it can seem, at first glance, unrelated. What we want to propose is a reinterpretation of Pasinetti’s cinema that underlines its essence of ‘visual narrative’. From the early and auroral Entusiasmo (1932), passing through the innovative Il canale degli Angeli (1934), in order to arrive at the peculiar framework of reality in the series of surgical documentaries, and at the movies about art and artists (Pittori Impressionisti, Arte Contemporanea), Pasinetti’s works are a manifestation of that cinema interpreted as a “complex entirety” that “is irrefutably part of the practical activity”.