Film Experiment Center

Japanese: 映画実験センター - えいがじっけんせんたー

…
[Mussolini's film policy]
Italian cinema certainly declined under Mussolini's regime, but it was during this period that almost all of the foundations for the revival of Italian cinema, which would later be revived under the name of "Neorealism," were prepared and built. In 1925, the film corporation "Luce" was founded with the aim of "educating and promoting cinema," in 1932 a film section was opened at the Venice Biennale (which started as the Venice International Film Festival in 1934), in 1934 the Film Department of the Ministry of Popular Culture was founded, in 1935 the film school "Centro Sperimentale di Cinematografia (Cinematographic Experimental Center)" was opened, in 1937 the Cinecittà Studios, which was called the "Cinema City," were built, and the film theory magazines "Bianco e Nero" and "Cinema" were launched. It was during this Fascist period that Alessandro Brazzetti, the director of The Sun (1929) and 1860 (1933), who were pioneers of Neorealism, and Mario Camerini, the director of The Rail (1929) and Man, What a Scoundrel (1932), made their debuts. The Experimental Film Center, which was established to promote the Fascist film regime, produced many famous directors, including Roberto Rossellini, Luciano Emmer, Michelangelo, and others. Among its members were Gero Antonioni, Luigi Zampa, Pietro Germi, Giuseppe De Santis, and Francesco Maselli, while the magazine Cinema, whose editor-in-chief was Mussolini's son, Vittorio Mussolini, produced filmmakers such as Luchino Visconti, Cesare Zavatini, and Carlo Lizzani, who would go on to become the driving force behind the Neorealism movement that would later have a major impact on the world of cinema.

From [Neorealism]

...The representative works of this movement are "Les Enfants d'Etudes d'Etudes" (1914) directed by Nino Martorio and "Assunta Spina" (1915) directed by Gustavo Serena, and it is said that no Italian filmmaker has not been baptized by these two works. These two works became excellent teaching materials for the Italian national film school, the "Centro Sperimentare di Cinematografia" (commonly known as "Centro"), and it can be said that the roots of "Neorealism" lie here. Even during the period when Italian film itself was in decline under the Fascist regime, this movement was continued by "1860" (1933) directed by Alessandro Brasetti and "Gentlemen Lie" (1932) directed by Mario Camerini. ...

*Some of the terms mentioned in relation to the "Film Experimental Center" are listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…
［ムッソリーニの映画政策］
　ムッソリーニ政権下ではたしかにイタリア映画は衰退したが，やがて〈ネオレアリズモ〉の名でよみがえるイタリア映画復興のほとんどすべての基盤が準備され，築かれたのもこの時期である。1925年，〈映画による教育宣伝を目的〉とした映画公社〈ルーチェLUCE〉の設立，32年ベネチアの〈ビエンナーレ展〉に映画部門開設(1934年からベネチア国際映画祭としてスタート)，34年民衆文化省映画局の設立，35年映画学校〈チェントロ･スペリメンターレ･ディ･チネマトグラフィア(映画実験センター)〉開校，37年映画都市と呼ばれたチネチッタ撮影所の建設，さらに同映画理論誌《ビアンコ･エ･ネーロ》および《チネマ》の創刊等々。〈ネオレアリズモ〉の先駆となった《太陽》(1929)，《1860年》(1933)の監督アレッサンドロ･ブラゼッティ，《レール》(1929)，《人間，なんたる悪党》(1932)の監督マリオ･カメリーニがデビューしたのもこのファシズム時代においてであり，ファシズムの映画体制を促進する目的で作られた映画実験センターからは，ロベルト･ロッセリーニ，ルチアーノ･エンメル，ミケランジェロ･アントニオーニ，ルイジ･ザンパ，ピエトロ･ジェルミ，ジュゼッペ･デ･サンティス，フランチェスコ･マゼッリらが，またムッソリーニの息子ビットリオ･ムッソリーニを編集長にいただいた《チネマ》誌の同人からは，ルキノ･ビスコンティ，チェーザレ･ザバッティーニ，カルロ･リッツァーニら，のちに世界の映画界に衝撃を与える〈ネオレアリズモ〉を担う映画作家たちが輩出したのである。…

【ネオレアリズモ】より

…ニーノ･マルトリオ監督《闇に落ちた人々》(1914)とグスタボ･セレナ監督《アッスンタ･スピーナ》(1915)がその流れの代表作で，イタリアの映画作家でこの2作品の洗礼を受けなかった者はいないといわれる。この2作品はイタリアの国立映画学校である〈映画実験センターCentro Sperimentare di Cinematografia〉(通称〈チェントロCentro〉)のすぐれた教材となり，ここに〈ネオレアリズモ〉の根があるということもできる。ファシスト政権下でイタリア映画そのものが衰退した時代にも，この流れはアレッサンドロ･ブラゼッティ監督《1860年》(1933)やマリオ･カメリーニ監督《殿方は噓つき》(1932)に引き継がれていく。…

※「映画実験センター」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典第２版について | 情報

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