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15 Cinema of the Past with a View to the Future Franco Di Giacomo mmmmmbssmmm Dear friends and colleagues, At the dawn of the twenty-first century - whether it is the beginning of a new millennium or the end of the old one is of little importance - I would like to greet you, as the new President of the AIC, by touching on a subject that I believe anyone who has a passion for, or works with, cinematic images, has at heart. Never before have the new technologies had such a powerful impact on our profession. The digitization of the image, for example, obliges us to actively redefine our professional skills. This reinvention must be app r o a c h e d Vittorio De Sica e Leonida Barboni sul set di 'Caccia alla Volpe', reg. Vittorio De Sica, 1966 with real enthusiasm but, at the same time, with a critical awareness of the risks involved in the new technologies.

One danger I feel I must mention is that of our work becoming impoverished. It is our job to use every innovative technique that allows us to express more with the light, thus emphasizing what is unique and irreplaceable about the creation of moving images. This is the only way we can show respect for our. 17 Giuseppe Lanci sul set di 'Francesco', reg.

Liliana Cavani, 1989 selves and for film audiences. Technological innovations will certainly make us reconsider our prerogatives - we shall even have to re-evaluate the aura that, in some instances, surrounds the cinematography profession - but the fact remains that we work with the light, and every kind of light is the result of a committed and conscious choice made by the cinematographer; therefore, there is no 'standard' form of light, as it is influenced and modulated by our deliberate intervention. Only by being fully aware of our function, of the use of this impalpable and mysterious element known as light to stimulate emotions and aesthetic pleasure, can we keep up with the times and with the technological inventions that we shall be using in the future.

Only by respecting the 'artistic' value of the image will we be able to avoid the vulgarization that a film and television industry too preoccupied with box office and ratings seems to be heading towards. We stand or fall as creators of images by the quality of those same images.

The rest - with respect to everything and everybody - is perhaps less important. My very best to you all. And every success with your work. Adobe photoshop 6 5 version of ms access. Franco Di Giacomo. 23 frame, Toland kept in focus the various planes of the space in which the action was taking place, so that the narrative flowed without cuts and the actors looked natural while moving in any direction. This is exactly the opposite of what Fellini and Martelli achieved by using long-focus lenses and neglecting the depth of field in 'La Dolce Vita', as they were determined to go against the usual practice (Toland and Welles had set the style) and to make this 'violation' work for them - and the film.

Roberto Rossellini and Carlo Carlini also broke the rules that same year by introducing in 'Era notte a Roma' the Pancinor process that originated in France and was popularly known as the 'zoom. ' The changeable length of focus permits a smooth transition from the short lens to the tele lens (and vice versa), thus favoring the movement of characters along an axis, preceded or followed by 'virtual' tracking - which is handled beautifully in the above film in the scene where the three prisoners of war, who have escaped from the concentration camp, are hidden in an attic by a working-class woman. Unlike real tracking, obtained with the use of a single lens applied to the moving camera, the zoom tends to blur the outlines when it is in the tele-focus position and distort them when it reaches the wide angle. It is the cinematographers task to harmonize the contrasts and to exploit all the possibilities - flowing movements and deeper penetration of the space - that the zoom offers.