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This book analyzes Mauro Bolognini the artist’s extreme professional vitality by following the red thread of his relationship with the intellectuals of the time, an inexhaustible source of inspiration and debate, making it one of the most original and nonconformist careers within the Italian film-industry.

This book chronicles the great adventure of Federico Savina, an artisan of the recording room and the moviola, a life filled with traveling and memorable encounters: from Philippe Sarde’s fussiness while working on Polanski’s films to the recording of the well-known “Sean sean” of Giù la testa, from Dario Argento’s looks to the disagreements with Zeffirelli and the problems with the Italian audio mixing of Star Wars.

Issue no. 604 of “Bianco e Nero” magazine largely features Liliana Cavani, who reveals herself – as artist, intellectual and woman – in a detailed interview with Enrico Magrelli, the issue’s curator. Words are, on occasions, quite meaningful. And those of filmmakers can be valuable or illuminating. Especially when, in retrospect, they vivify past journeys, creative trajectories, unexpected opportunities, planned or impromptu choices, suggestions and narrative needs. This interview is the centerpiece of a new journey of discovery and rediscovery of the opus of a remarkable filmmaker, who graduated in Film Direction at the Centro Sperimentale di Cinematografia during a time when very few women worked behind the camera; she was a tireless advocate of high-culture and high-quality television in RAI, a documentary filmmaker of distinction, a scholar of science and spirituality (from Galileo to St. Francis, and Milarepa), a director of controversial masterpieces such as I cannibali, Il portiere di notte and La pelle, and author of television programs about great figures such as Albert Einstein and Alcide De Gasperi.

This issue of «Bianco e Nero» is devoted to a couple, with the intention of honouring two outstanding talents of the Centro Sperimentale di Cinematografia: Francesca Calvelli and Marco Bellocchio have been both work partners (together they have produced fifteen films, spanning from Il sogno di una farfalla in 1994 to the acclaimed TV series Esterno notte in 2022) and life partners for almost thirty years.

Over thirty years have passed since its first Italian-language publication, and Paolo Cherchi Usai’s Study Guide for Silent Film has long become an international classic in film studies, an invaluable introductory overview of the early days of film heritage preservation and restoration. Drawing on his decades-long research in film libraries and festivals across the world, Cherchi Usai presents the most recent results of his studies, along with rediscoveries and musings on a subject that has now become an essential element of teaching programmes devoted to the history and enhancement of film heritage.

This book presents Fofi’s recap of his relationship with Pier Paolo Pasolini through a long autobiographical essay and the re-publication of all written contributions on the subject from 1964 to 2022 – texts which are often quite difficult to obtain but still relevant for a better understanding of the figure of Pasolini and his time.

The film industry and its relationship with the environment. The film industry has a duty of care and must address the environmental issue: this entails turning the spotlight on the many films, both old and recent (from the Lumière brothers to Don’t Look Up), that have dealt with the subject; but it also means discussing how the film industry affects the environment. This is because film sets also contribute to pollution, but thankfully there is a growing awareness and many production companies are implementing increasingly virtuous plastic-free protocols.

The book focuses entirely on a great master of Italian cinema, Ettore Scola.

Although medieval settings and themes are often confined to a political perspective – sometimes turning the Middle Ages into a political metaphor – this simply cannot constitute the only interpretation of the “medievalist” film  genre. This issue of “Bianco e Nero” attempts to provide the broadest and most diverse overview on this topic.

This issue of “Bianco e nero”, directed by Felice Laudadio and edited by Maurizio Porro, traces Mariangela Melato’s entire career and her contribution to the cinema, theatre and television industry.

This well-documented and extensively illustrated book reveals for the first time the fascinating, dramatic and unexpected story of the most censored film in the history of Italian cinema.

This book  attempts to analyze the relationship between that brave intellectual from Racalmuto, whom our society so greatly misses, and the seventh art, through the memories and observations of his nephew, director Fabrizio Catalano, a former student of the Centro Sperimentale di Cinematografia.

Interviews with 116 actors, directors, screenwriters, film-makers, producers protagonists of the second Italian cinema (1930-1943).

It portrays how the film industry was affected by the pandemic.

A gallery of stars of the entertainment industry, including but not limited to Italians, set against the backdrop of this country’s cultural history, whose legacy should not be lost.

The CSC pays tribute to one of its most eminent teachers, Giuseppe Rotunno, great director of photography and the master of light of some of the showpieces that left a mark on film history. His contribution spans half a century of the history of cinema, with collaborations with Visconti, Fellini, De Sica, Rossellini, Wertmüller, Monicelli, Pietrangeli, Risi, Zurlini, Freda, Stanley Kramer, Bob Fosse, Mike Nichols, Robert Altman, Terry Gilliam.

This Quaderno, the brainchild of Mario Patané and Nino Genovese, created to celebrate the 150th anniversary of Musco’s birth (18th December 1871), represents one of the fruits of a complex effort by the Cineteca Nazionale, whose expertise ensured the restoration of delicate and rare film footage.

Two directors, Steno and Monicelli, two great showmen, Totò and Fabrizi, two producers, Ponti and De Laurentis. Two production projects. And two versions of the movie: on one side, the film we all know, which was released in cinemas at the time, on the other side, the version which has been preserved in the archives of the Cineteca Nazionale, whose differences highlight the grotesque, months-long clash between the production and the Direzione Generale dello Spettacolo (General Directorate of Entertainment). Using the discovery of this version as a starting point, Alberto Anile analyses the creative, productive and censorious development of a major masterpiece of Italian cinematography. He examines Guardie e ladri from the original idea up to the philological juxtaposition of the two versions, uncovering small and great behind-the-scenes anecdotes of a “twofold” opus which blends humour and bitterness, rebelliousness and detachment.

This issue is wholly dedicated to Bernardo Bertolucci. The magazine’s work “revolving around” Bertolucci yielded a rich mosaic that allows the reader to “observe”, passing from one piece to the next, and pause at one particular article or another and then go back altogether, in a way like watching a movie through a moviola or on a DVD player. However, the final result, as we believe it to be, is a unified and well-rounded portrait of one of the greatest talents in the history of world cinema and of his fantastic art of storytelling through images. A one-of-a-kind that, according to Treccani Encyclopaedia, is “a phenomenon that occurs only once, absolutely exceptional and unrepeatable”. That is precisely Bernardo Bertolucci. (From the editorial by Felice Laudadio). This issue contains contributions by: Edoardo Albinati, Niccolò Ammaniti, Francesco Barilli, Ilaria Bernardini, Andrea Carraro, Paolo Di Paolo, Jhumpa Lahiri, Dacia Maraini, Gabriella Palli Baroni, Romana Petri, Aurelio Picca, Ludovica Rampoldi, Lidia Ravera, Alberto Rollo, Antonio Scurati.

This book features critical articles sounding the work of Frederick Wiseman, a cinematographer who exposed the strengths and weaknesses of American society in his documentaries, expanding upon the language of the so-called “reality cinema”. New updated edition.

Giorgio Arlorio (Turin, February 27th, 1929) was one of the most prominent figures of Italian post-war cinema. He worked with great masters (Gillo Pontecorvo, Dino Risi, Mario Camerini, Mario Monicelli, Mauro Bolognini) and wrote very successful B films (La Patata bollente by Steno, L’arciere delle mille e una notte by Antonio Margheriti, Il mercenario by Sergio Corbucci, Zorro by Duccio Tessari). He was an important TV author (he was the curator of Specchio segreto, a cult TV programme in the 1960s, with Nanni Loy) and taught screenwriting at the Centro Sperimentale di Cinematografia for several years (1999-2016). His biography is a journey through Italian cinema, that defies the archetypal division between art-house films and B movies, between politically committed motion pictures and commercial works. Through a valuable series of stories, anecdotes and information, all marked by the subtle irony that is an essential part of his storytelling, Arlorio helps us to better understand the nature of Italian cinema, its truest and deepest essence.

The book publishes a series of photographs (most of which previously unreleased) taken between 1969 and 1971 by cinematographer and photographer Maurizio Maggi. Maggi accompanied Welles during the shooting of The Deep, a film based on a novel by Charles Williams and starring, among others, Oja Kodar, and during the production of a series of sketches meant for a Cbs TV special known as Orson’s Bag. Maggi himself narrates this wonderful adventure in an interview with Luca Pallanch.

It traces the career of one of Italy’s most beloved actors, enriched by remarkable photos from the Cineteca Nazionale’s Photographic Archive. It also features accounts by Federico Fellini, Sophia Loren, Claudia Cardinale, Ettore Scola, Marco Bellocchio and Liliana Cavani, among others.

The book follows the evolution of the Italian horror genre during the years 1956-1979. While the gothic horror genre is not really part of our culture, it quickly gained large success and prestige on an international scale thanks to the talent of Mario Bava, Riccardo Freda, Massimo Pupillo and Camillo Mastrocinque, thus kick-starting the publishing of European fantasy film fanzines. The book is enriched by a very thorough filmography.

It is a manual on the theory of filmmaking which was written during the war but never published as a result of the ongoing conflict.

The number 597 of «Bianco e Nero» is entirely dedicated to Carlo Lizzani.

It is a step-by-step biography that is also the reconsideration of a genius, with his lies and his truths. A volume largely based on the actor’s personal archive, full of unpublished documents and never-before-seen images.

The number 596 of “Bianco e Nero” is entirely dedicated to Mario Monicelli, who was indisputably one of the great authors of our cinema.

In addition to being a great actor, Lino Capolicchio was blessed by living during a unique era in Italy: the Sixties and Seventies. This was a time in which the world witnessed an unprecedented ethical and aesthetic revolution, affecting every aspect of human life from politics to philosophy, from cinema to music, from art to theatre, from literature to architecture. Throughout those fabulous years, Lino Capolicchio was, first and foremost, an iconic figure, a role that is clearly painted in his memoir, which offers touching and flawless evidence of this, especially through his brilliant analyses of certain extraordinary encounters, such as those with Sergio Tofano, Giorgio Strehler, Anna Magnani, Vittorio De Sica, Pier Paolo Pasolini, Federico Fellini, The Beatles, Carmelo Bene and Fabrizio De André.