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Chapter 7Figure 7.10 – Nationality of films broadcast by generalist television (average figures2000-2005)Uk5%Germania Germany1%France Francia5%Spain Spagna1%Other Altro5%Usa48%Italy Italia35%Source: our elaboration of Osservatorio dell’Audiovisivo and Auditel dataThe secondary role of Italian films iseven more pronounced if we considershowing times: Italian films are mainlybroadcast at night and late night (after2 am), while only 7% are shown duringprime time. In more detail we see that:the channels RAI 1, Rete 4 and Italia 1mainly broadcast Italian films at night(48%, 53%, and 62%, respectively);RAI 2 in the early night slot (10.30 pm-2 am); and Canale 5 from early nighton (54%). Other broadcasters alsoschedule Italian films at less populartimes: RAI 3 broadcasts 41% of itsItalian films in the morning (7 am-2pm) and La7 in the morning andafternoon (2 pm-8.30 pm). Canale 5 isthe only generalist channel whichbroadcasts a significant percentage ofItalian films (24%) during prime time.Figure 7.11 – Showing times of Italian films on TV (average figures 2000-2005)16%44%7%12%MATTIN APOMERIGGIOPRIME TIMESECONDA SERATANOTTE21%Source: our elaboration of Osservatorio Audiovisivo and Auditel dataWHITE PAPER ON CREATIVITY 178
Chapter 7The difficult relationship betweenItalian cinema and television is alsoconfirmed by analysing the year ofproduction of films broadcast bynational networks. As we see in Figure21, generalist television devotes a gooddeal of room to what we may define asclassic films, i.e. films produced up tothe 1970s, which account for over 60%of total Italian films broadcast. Classicfilms receive a large number ofshowings on television, proof thattelevision audiences seem to be keenon the more traditional image of Italiancinema.Even if we consider more recentproductions (2000-2005), the situationdoes not seem to improve much. Onone hand, in recent years the numberof television premieres of films on thegeneralist networks has fallen and, onthe other, the vast majority of films(66%) are scheduled at secondary timeslots, such as night, late night orafternoon.The television network that showsmost Italian films is RAI 3, but hasrelatively small audiences, whereas thebest audience figures are obtained byCanale 5. This difference in resultsdepends on the type of film broadcastand the time of showing. While RAI 3shows films with a greater culturalcontent mainly after 11 pm, Canale 5(like RAI 1, although to a lesser degree)shows more Italian films during primetime, especially those which wepreviously defined as domesticblockbusters. This kind of product, infact, seems to guarantee televisionstations fairly predictable audiences,since they rely on a cast of well-knownactors (who often also work fortelevision), excellent results at the boxoffice and the capacity to attract a largeaudience uniformly distributedthroughout the country.As far as pay-TV is concerned,considering only 2005, Italian filmshave a small average share (around19%) of the total films broadcast bypay-TV networks. The percentage ofItalian films shown, however, variesgreatly with the type of channelconsidered. On the contrary, more thanhalf of the Sky Cinema Classicsschedule is devoted to Italian films; thischannel is followed by others, whichseem to place greater trust in domesticproducts, such as Happy Channel, SkyAutore and RaiSat Cinema World;Italian films shown on these channelshave a share ranging from 20 to 30%of total films.Like generalist television, pay-TVsoffer more space to classic Italian films,i.e. those produced before 1999. Classicfilms are a very high percentage of thetotal films shown especially onchannels – such as Sky CinemaClassics, Happy Channel and RaiSatCinema World – which broadcast thelargest number of Italian films. Theonly exception is Sky Autore, which in2005 was the second channel in termsof the number of Italian filmsbroadcast, of which 83% consisted offilms produced since 2000. Inpercentage terms, Sky Cinema 1 (likeSky Cinema 2, which shows the sameprogrammes an hour later) is thechannel with the largest share ofrecently made Italian films (99%). Thisfigure is hardly surprising since thestrategic mission of the channel inquestion is to give films their televisionWHITE PAPER ON CREATIVITY 179
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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
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Chapter 4Table 4.1 - Companies in t
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Chapter 4From an initial interpreta
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Chapter 4profession, which combines
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Chapter 5Michelangelo Pistoletto
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Chapter 5but also in generating inc
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Chapter 5private institutions, such
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Chapter 5of exports to the main mar
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Chapter 5Croce in Tuscany) and thos
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Chapter 5Table 5.5Brand Country Sec
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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 131 and 132: Chapter 6Michelangelo Pistoletto
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 and 158: Part IIIis easy to see that such co
Page 159 and 160: Chapter 7Chapter 7Film7.1 Italian c
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: Chapter 7television in 2000-2005 re
Page 181 and 182: Chapter 7Figure 7.12 - Italians’
Page 183 and 184: Chapter 7comedies which were box-of
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 191 and 192: Chapter 8Michelangelo Pistoletto
Page 193 and 194: Chapter 88.1 Company sizeBoth in pu
Page 195 and 196: Chapter 8dynastic line have not alw
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
Page 209 and 210: Chapter 9Chapter 9Software, Compute
Page 211 and 212: Chapter 9on its capacity to be a sy
Page 213 and 214: Chapter 9Some people even talked of
Page 215 and 216: Chapter 99.3 The Italian caseA prof
Page 217 and 218: Chapter 9Zetel; SeaSoft S.p.A is a
Page 219 and 220: Chapter 9On this market, after its
Page 221 and 222: Chapter 9technologies: 92% of small
Page 223 and 224: Chapter 9Table 9.5 highlights the m
Page 225 and 226: Chapter 9Table 9.7 highlights a ver
Page 227 and 228: 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
Page 381 and 382:
BibliographyAntonelli, C. e Barbiel
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BibliographyCreplet F., Dupouet O.,
Page 385 and 386:
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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