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MART

museo di arte moderna
e contemporanea
di trento e rovereto

  • Osvaldo Peruzzi, "Ritratto di V.T. (Ritratto di Vivi Gioi)" (dettaglio), 1933, pastello su carta, Mart, Donazione Stella Peruzzi
  • "Movie Makers", ottobre 1929, copertina della rivista (dettaglio), Cineteca Nazionale – Centro Sperimentale di Cinematografia
  • "Tha´s" di Anton Giulio Bragaglia", 1917, fotografia di scena, Roma, Archivio fotografico Cineteca Nazionale

Like a Movie
The Post-Futurist Cinema of the 1930s

 
Casa d'Arte Futurista Depero
13 April 2019 / 20 October 2019
 
T

he exhibition programme at the Casa d’Arte Futurista Depero gains a new section dedicated to cinema. The protagonist is Emanuele Caracciolo (1912-1944), a filmmaker representing the Neapolitan Futurist Group, whose activity is documented in the Fortunato Depero section of the Archivio del ’900.
Although the Futurists viewed cinema with curiosity and interest, they produced few films in the 1910s and 1920s, and most of what they did produce has been lost. In the 1930s, with the advent of sound and the birth of Cinecittà Studios, Italian cinema entered a new phase of production, which is much more thoroughly documented.

Through a selection of photographs, letters, books and magazines, the exhibition explores a number of exemplary cases, shedding new light on Depero’s projects and his contacts with the world of cinema. The itinerary features a documentary by Walter Caprara and excerpts from certain significant films: Thaïs by Anton Giulio Bragaglia, the only Futurist film to have survived to the present day, Troppo tardi t’ho conosciuta by Caracciolo, which had been lost but was rediscovered in 2003, and Marionette by Carmine Gallone, a pillar of popular cinema from his debut until at least the 1950s.

 

curated by Nicoletta Boschiero and Federico Zanoner