White paper on creativity - ebla center

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Chapter 7Michelangelo Pistoletto “Who are you?” 1976Videotape, b&w, running time 22 minutes,Photograph: D. Garella
Chapter 7Chapter 7Film7.1 Italian cinema: apromising resurgenceThe starting point of this chapter is thecurrent state of the Italian filmindustry. Having marked a return togrowth at the turn of the 21st century,Italian cinema has enjoyed aparticularly brilliant period in the lasttwo years. This resurgence has evensuggested a full-blown renaissance maybe underway and many causal elementsshow that the growth is not simply anunexpected positive trend. What iskeeping the Italian flag flying high isnot only commercial films or films foryoung audiences. Middle-brow and artfilms (such as La cena per farli conoscere,Lezioni di volo, Uno su due, Centochiodi,Mio fratello è figlio unico, Saturno contro,Giorni e nuvole, La ragazza del lago,Milano-Palermo –il ritorno) have alsocontributed to the overall success,which in some weeks saw Italian filmstake a share of over 40% of nationalbox office sales.In 2007, there were 120 million cinemaadmissions, a return to the kind offigures for 1986, and Italian films droveadmissions up by 12% on 2006. In thefirst two months of 2008, the marketshare of Italian films was 36.3%, whichis much higher than the figure ofaround 32% for the whole of 2007.But how can we explain the success ofItalian films over the past few years?And why have filmgoers shown greaterinterest in the seventh art, usuallyleaving cinemas well-satisfied with whatthey have seen? Here we will try tosupply some answers to these questionsby presenting the principal factors inthe growth.1. The emergence of a newgeneration of producers. After theprevious generation’s long period of“subsidised” survival and shaky, halfheartedentrepreneurship, producersare showing a greater sensibilitytowards the complex challenge ofreconciling artistic products with themarket.2. The generational turnover of thecommunity of artists (film directorsand screenwriters) has led to a newfocus on narrative: less intellectual,more open-ended stories, inspired bygenres favoured by Italian audiencesand anything but self-referential, areattracting much wider sections of thepublic.WHITE PAPER ON CREATIVITY 159
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White pape
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IndexAcknowledgements .............
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IndexPart III......................
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Index14.5 Repercussions on art coll
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AcknowledgementsThe White</
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We would like to thank Michelangelo
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Chapter 1Michelangelo Pistoletto -
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Chapter 1intellectual, literary and
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Chapter 1leisure, entertainment, cu
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Chapter 1systems, in which there is
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Chapter 1territory, a cultural dist
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Chapter 1Social qualitySocial quali
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Chapter 1intangible cultural goods
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Chapter 1and quality certification)
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Chapter 1In the case of “absorpti
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Chapter 1According to this classifi
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Chapter 1Figure 1.3 - The creativit
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Chapter 1Table 1.2 - Value Added an
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Chapter 1Figure 1.5 - Contribution
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Chapter 1Figure 1.6 - Comparison wi
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Chapter 2Chapter 2The Italian model
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Chapter 2interest”. Thus since 20
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Chapter 2intercultural dialogue for
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Chapter 2There is a strong interdep
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Chapter 2On this point the recommen
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Chapter 2edited by Frontier Economi
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Chapter 2measure the sectors of eco
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Chapter 2publishing and architectur
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Charter 3Michelangelo Pistoletto -
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Chapter 3physical setting of our ho
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Chapter 3morphology and peripherals
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Chapter 3moving raw materials, manu
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Chapter 3world. But it is also a ve
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Chapter 3society” also involves t
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Chapter 3outcomes. The problem is n
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Chapter 3greatly empowered in terms
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Chapter 3widespread crime and pover
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Chapter 3The Harvard economist Edwa
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Chapter 3This means that consumptio
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Chapter 3concentrate in larger and
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Chapter 3Cultural openness towards
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Chapter 33.7 Concluding remarks :It
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Part II
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Part IISymbolic goodsThere is no ra
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Part IIMaterial culture goods as mi
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Part IIobjects. In short, quality d
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Chapter 4Michelangelo Pistoletto
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Chapter 4accessories has built up t
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Chapter 44.2 The roots of Italiande
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Chapter 4All of these factors would
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Chapter 4business) as most resident
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Chapter 4They may collaborate simul
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Chapter 4ideas and research to the
Page 107 and 108: Chapter 4Table 4.1 - Companies in t
Page 109 and 110: Chapter 4From an initial interpreta
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Page 113 and 114: Chapter 5Michelangelo Pistoletto
Page 115 and 116: Chapter 5but also in generating inc
Page 117 and 118: Chapter 5private institutions, such
Page 119 and 120: Chapter 5of exports to the main mar
Page 121 and 122: Chapter 5Croce in Tuscany) and thos
Page 123 and 124: Chapter 5Table 5.5Brand Country Sec
Page 125 and 126: Chapter 5squares - to the equation
Page 127 and 128: Chapter 5A last vitally important e
Page 129 and 130: Chapter 5Worldwide there are around
Page 133 and 134: Chapter 6The taste industry or rath
Page 135 and 136: Chapter 6aim of creating a virtuous
Page 137 and 138: Chapter 6The taste industry has vis
Page 139 and 140: Chapter 6and vegetables (18%). On l
Page 141 and 142: Chapter 6compared to traditional, n
Page 143 and 144: Chapter 6Spelta). Farro is consider
Page 145 and 146: Chapter 6The Italian guidebook, Gam
Page 147 and 148: Chapter 6and the channels of the la
Page 149 and 150: Chapter 6Table 6.3 shows the region
Page 151 and 152: Chapter 6adulterated with methanol,
Page 153 and 154: Part III
Page 155 and 156: Part IIIThe superstar phenomenonWhy
Page 157: Part IIIis easy to see that such co
Page 161 and 162: Chapter 7In the last few years Ital
Page 163 and 164: Chapter 7withdraws to a personal po
Page 165 and 166: Chapter 7market for films in cinema
Page 167 and 168: Chapter 7more films than the USA (i
Page 169 and 170: Chapter 7Figure 7.4 - Average admis
Page 171 and 172: Chapter 7in this situation is Franc
Page 173 and 174: Chapter 7i.e. films with the best r
Page 175 and 176: Chapter 7correlated to the capacity
Page 177 and 178: Chapter 7television in 2000-2005 re
Page 179 and 180: Chapter 7The difficult relationship
Page 181 and 182: Chapter 7Figure 7.12 - Italians’
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Page 185 and 186: Chapter 7Bagnoli, near Naples, whic
Page 187 and 188: Chapter 77.7 ConclusionsThe Italian
Page 189 and 190: Chapter 71960 Cannes Golden Palm La
Page 193 and 194: Chapter 88.1 Company sizeBoth in pu
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Page 197 and 198: Chapter 8It may be no exaggeration
Page 199 and 200: Chapter 88.5 The individual sectors
Page 201 and 202: Chapter 8are many complaints that e
Page 203 and 204: Chapter 8it has forced smaller comp
Page 205 and 206: Chapter 8The two large national net
Page 207 and 208: Chapter 8changes in political power
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Chapter 9Chapter 9Software, Compute
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Chapter 9on its capacity to be a sy
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Chapter 9Some people even talked of
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Chapter 99.3 The Italian caseA prof
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Chapter 9Zetel; SeaSoft S.p.A is a
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Chapter 9On this market, after its
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Chapter 9technologies: 92% of small
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Chapter 9Table 9.5 highlights the m
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Chapter 9Table 9.7 highlights a ver
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Chapter 9figures concerning small c
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Chapter 10Cittadellarte - “Italy
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Chapter 10and ultimately also consu
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Chapter 10been little explored by c
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Chapter 10advertising, re-launched
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Chapter 10Current creative practice
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Chapter 10Communications and creati
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Chapter 10Creativity and communicat
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Chapter 10Public relations and corp
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Chapter 10In Italy political commun
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Chapter 10on research conducted by
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Chapter 10flags in the past). But a
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Part IVThe historical and artistic
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Part IVLastly, the intangible goods
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Chapter 11Chapter 11The Cultural He
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Chapter 11requires processes of co-
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Chapter 11potential in 153 communal
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Chapter 11image and a primary sourc
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Chapter 11important for the success
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Chapter 11meticulous process of gat
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Chapter 11cultural institutes to ac
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Chapter 11in cultural consumption -
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Chapter 11period of 8%. Someone mig
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Chapter 1111.6 ConclusionsAs we hav
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Chapter 12Chapter 12Architecture12.
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Chapter 12Architectural quality and
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Chapter 12sustainability. In this c
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Chapter 12works published in at lea
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Chapter 12Figure 12.3 Technical fir
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Chapter 1212.4 The bricks of creati
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Chapter 12individuals, then the gre
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Chapter 12designs. Exchanging ideas
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Chapter 12periods abroad thanks to
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Chapter 12harmonious insertion of a
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Chapter 12work, linking up and inte
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Chapter 13Chapter 13The Performing
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Chapter 13photostories, soap operas
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Chapter 13These experiments, seen a
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Chapter 13Table 13.2 - Diversificat
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Chapter 13Figure 13.1 presents the
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Chapter 1313.5 The performing arts:
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Chapter 13developments. Moreover, t
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Chapter 13programmes to changed soc
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Chapter 13education colleges”) pr
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Chapter 13Table 13.5 - The Italian
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Chapter 13emblematic. The company r
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Chapter 14Chapter 14Contemporary Ar
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Chapter 14similar phenomena are now
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Chapter 14driving the growth of gal
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Chapter 14income for the state woul
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Chapter 14Table 14.1 - Accademie di
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Chapter 14and the perception of the
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Chapter 14situation. With very few
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Chapter 14completely. In other word
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Chapter 14find one’s find bearing
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Chapter 14Centro per l’ArteContem
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Charter 15Michelangelo Pistoletto
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Chapter 15Ambitions and Key Decisio
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Chapter 15Key decision 4On the dema
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Chapter 15Ambition 8. Culture and d
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Chapter 15Ambition 10. Express an I
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Chapter 15Creative cities and local
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Chapter 15Action 4 : Organise inter
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Chapter 15so hard in recent years t
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Chapter 15system. As the “global
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Chapter 15ObjectiveEncourage the en
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Chapter 15• stop agricultural and
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Chapter 152 Publishing, Radio and T
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Chapter 153 Computer, Software and
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Chapter 15ObjectiveRedesign the rel
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Chapter 15visitors but also taking
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Chapter 15ObjectiveSupport the inte
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Chapter 15local authorities in orde
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Chapter 15important invitation (for
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Notescountries must incorporate the
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Notesxlviii The Doxa-Mercury-Tourin
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Noteslxxv A recent study (D. Urruti
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BibliographyAntonelli, C. e Barbiel
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BibliographyCreplet F., Dupouet O.,
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BibliographyHall P. (1998), Cities
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Morelli M. (2003), Teoria e tecnich
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BibliographySacco, P.L., Tavano Ble
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BibliographyTorino Internazionale,
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AuthorsAuthorsPriscilla Altili - Pr
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AppendixAppendixWHITE PAPER ON CREA
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AppendixConception andProductionDis
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AppendixPUBLISHINGConception andPro
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AppendixConceptionand ProductionARC
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