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65 Mostra Internazionale D'Arte Cinematografica
Edited By Sarah C. Canarutto
Mondadori Electa, Milan, Italy
Distributed By Trans-Atlantic Publications
108 Pages, Illustrated, 6 7/8 x 8 1/4"
$52.50 Paper Original
From the Introduction:
We resolved, for this new four-years mandate of the Cinema Section of La Biennale (for this 65th Venice Film Festival), to stop, once and for all,looking at the cinema as if it were an infallible compass. No longer did we want to ask the cinema to rescue us from a problematic, ambivalent, ambiguous present: it was up to us, instead, to stay in there, not to pass over the new problems (artistic and beyond) that are being posed by the age in which we have to live. An age characterized by an ever-shifting profusion of images, but also without, when all is said and done, there being all that much to see.
If the cinema is no longer (or almost) the cinema, this may also bring tolight aspects whose positive nature is not immediately discernible. The cinema has become a whole series of ideas, forces, properties, capacities, myths and stories. And, above all, it has turned into a new way of thinking, and an original and powerful one. So that, fortunately, when we set out to track down what, in the cinema, has come after the modern, we are always exposed to the danger of contagion, from the risk of hybridization.
As a result of these programming choices, we like to picture the International Venice Film Festival as a place with a richer range of individualities, which can be formed not by assimilation but by comprehension, through an active gaze and through comparison. The future of the Festival, in the shadow of the emerging new complex of movie theaters, is undoubtedly in need of it.
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