Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
maggio 2011
Rapporto Confidenziale
rivista digitale di cultura
cinematografica
www.rapportoconfidenziale.org
SERIE IMAGO 01
Rapporto Confidenziale Rapporto Confidenziale rivista digitale di cultura Rapporto Confidenziale rivista digitale di cultura
rivista digitale di cultura cinematografica cinematografica nasce nel novembre 2007 da un’esigenza di Alessio cinematografica non è un prodotto editoriale ai sensi della legge
Galbiati e Roberto Rippa. n. 62 del 7 marzo 2001 e non persegue alcuna finalità di lucro.
numero32 - maggio 2011 La rivista vuole essere una voce libera ed indipendente di critica
SERIE IMAGO 01 L’esigenza di cui si parla era ed è quella di trattare il cinema ed i cinematografica: libera da ogni condizionamento ed indipendente
film con assoluta libertà, svincolati dai diktat del mercato, in primis nell’espressione del proprio senso critico. Le immagini utilizzate
www.rapportoconfidenziale.org editoriale, dalla schiavitù delle uscite settimanali, dalla noia delle provengono dalla rete e sono pertanto da considerarsi di dominio
info@rapportoconfidenziale.org sale e dall’incubo delle multisale; in una parola: emancipazione, pubblico (fatta esclusione per le immagini indicate nella prima
dal cinema trattato come merce, dalla visione intesa come colonna della seguente pagina). Per ogni possibile controversia ci
Direttori editoriali / Editors intrattenimento. Dalla sua nascita RC parla di cinema invisibile, mai rendiamo disponibili ai dovuti chiarimenti.
Alessio Galbiati alessio.galbiati@rapportoconfidenzale.org distribuito, mai arrivato in Italia, sommerso ed artigiano, cercando
Roberto Rippa roberto.rippa@rapportoconfidenzale.org di dare voce alle esperienze ed alle realtà che reputiamo interessanti Licenza: la rivista è rilasciata con licenza Creative Commons -
e ancora poco conosciute. Ma pure di cinema classico dimenticato, di Attribuzione - Non commerciale - Non opere derivate 2.5 Italia. Ogni
Grafica e impaginazione / Graphics and layout cult poco conosciuti, di autori scivolati immeritatamente nell’oblio, volta che usi o distribuisci quest’opera, devi farlo secondo i termini
Alessio Galbiati, ilcanediPavlov! dei classici del futuro. di questa licenza, che va comunicata con chiarezza. In ogni caso,
puoi concordare col titolare dei diritti utilizzi di quest’opera non
Editing e traduzioni / Editing and translations La gratuità è un concetto centrale per RC che si coniuga con la scelta consentiti da questa licenza. Questa licenza lascia impregiudicati i
Alessio Galbiati, Roberto Rippa di utilizzare sia per il sito che per il mensile una licenza Creative diritti morali.
Commons; scelta ‘politica’ nella misura in cui sposa la causa della http://creativecommons.org/licenses/by-nc-nd/2.5/it
SERIE IMAGO 01 libera circolazione dei saperi. Sempre in quest’ottica è pensato il
Kirsten Rothbart, Petrina Hicks, Emmanuel Lafont, Francisca sistema economico di RC, allo stesso modo del software libero il Distribuzione: Rapporto Confidenziale è distribuito in formato
Pageo, Federico Mancosu, Se7te Secondi Circa, Bartholot, Dan sistema di finanziamento è delegato al libero arbitrio del lettore, PDF. Può essere letto con Acrobat e Adobe Reader 5.0 (e versioni
Tague, Emmanuel Mathez, Zapuder filmmakersgroup. al quale chiediamo di compiere o meno la scelta di effettuare una successive); può essere stampato a colori in formato A4 orizzontale,
donazione che ci permetterà di coprire le spese sostenute nelle con rilegatura a margine.
Copertina / Cover molteplici attività svolte.
ilcanediPavlov! | impressum-dhy92 License: Rapporto Confidenziale is published under a Creative
RC was born in November 2007 from a need of editors Alessio Commons license – Attribution - Noncommercial — No Derivative
Galbiati and Roberto Rippa. We mean, the need to write about
Immagini Works, Italy 2.5. Everytime you want to use, share, distribute this
cinema with absolute freedom, released from commercial diktats,
Le immagini contenute nel presente numero sono di proprietà degli from the obligation of a weekly release, from the boredom of the magazine, you must agree with to this license, hat has to be clearly
autori che ce le hanno concesse in uso gratuito per la realizzazione multiplex theatres. In one word: emancipation, from cinema and explicity stated.
del primo elemento della SERIE IMAGO. treated as a commodity, as mere entertainment. Since its birth, RC
All the rights for the images featured in this issue are owned by http://creativecommons.org/licenses/by-nc-nd/2.5/it
deals with “invisible” cinema, undistributed in Italy, underground
their authors, who gave them for free to be used for this issue of the and independent cinema. But also with the undeservedly forgotten
SERIE IMAGO. classics or authors. Rapporto Confidenziale is a nonprofit project
Kirsten Rothbart (pp.6-14) | Petrina Hicks (pp.15-22), Emmanuel and the magazine is free and published under a Creative Commons
Lafont (pp.23-34), Francisca Pageo (pp.35-43), Se7te Secondi Circa license. This is a political choice that supports the free circulation
(pp.44-51), Bartholot (pp.52-60), Emmanuel Mathez (pp.61-72), of kwnoledge. The economical support of the project is up to the
Federico Mancosu (pp.73-79), Dan Tague (pp.80-87), Zapruder readers who can choose whether to make a donation or not. The
filmmakersgroup (pp.88-103). donations are used to cover various expenses (including graphic
works, video production, organization of RC magazine's events).
Ringraziamenti / Thanks to
Istituto Micropunta
http://www.facebook.com/pages/Rapporto-Confidenziale/45666975469
http://www.youtube.com/rconfidenziale
Rapporto Confidenziale
http://www.vimeo.com/rconfidenziale
rivista digitale di cultura cinematografica
è realizzato da Arkadin associazione culturale http://issuu.com/rapportoconfidenziale
www.rapportoconfidenziale.org/arkadin.htm
2
05 06
SuMMARy
numero/issue....................32
MAGGIO/may....................2011
SERIE.IMAGO....................01
Se7te Secondi Circa Bartholot
page 44-51 page 52-60
01 02 07 08
03 04 09 10
Dunque non dovrebbe stupirsi il lettore che non incontrera' gli abituali
PROFLUVI lessicali perche'é da sE'é comprenderàA' quanto 'pensiero' si celi all'
interno di una immagine.
Buona visione.
Kirsten Rothbart
6
Kirsten Rothbart
(Germany) Is currently studying Comic Art and Illustration at the School
Of Art And Design IN Kassel, Germany.
SIGNIFICANT for Kirsten's style are rather clear lines and the mixture of
analogue and digital techniques.
Her works usually REFLECT odd and intimate situations caused by or
between people in a kinda like anonymous, sleazy alternate reality. Such as a
couple in a shabby bedroom or a man in a wolf's fur, standing in snow.
www.heartsandponies.blogspot.com
THE IMAGES
Let's Roll pag.7
WolfIE pag.8
The Rehearsal pag.9
The Chief pag.10
Bathing pag.11
One Day I'm Gonna Be A Catlady pag.11
Hool-A-Hoop pag.12
14
02
Petrina Hicks
15
Petrina Hicks
(Australia, 1972) Hicks gently subverts the pervasive language of
photography as it is used in advertising and publicity, creating edgy images
that intrigue and disturb. While she primarily works with people, her works
transcend the boundaries of portraiture as she finds beauty in perceived
imperfections and renders idealized beauty strange.
www.petrinahicks.com
22
03
Emmanuel Lafont
23
Emmanuel Lafont
(Spain, 1980) Freelance illustrator, half Argentine, half Italian, but with a
Spanish heart.
He collaborates with different design studios like Narita Estudio (Malaga)
and Stone Design (Madrid), illustrating editorial projects, customizing
furniture, painting walls, designing T-shirts, etc.
Some of his works have been published in: Area Zinc Magazine, Lamono,
Carpaccio Magazine, Partysan, Zoom, among others.
www.emmanuellafont.com
THE IMAGES
"Iberik Glamour" series pag.24-27
"Animal Love" series pag.28-33
34
04
Francisca Pageo
35
Francisca Pageo
(Spain, 1983) She graduated in Graphic arts printing in 2004, and she started
working as editor & photographer assistant. Meanwhile, she learned
photography & other arts as an autodidact, putting special emphasis on
the collage technique. Since 2008, she's been working as a visual artist
(photography, graphic design & collage) making posters, album covers,
editorial, also collaborating with various international & spanish art
magazines and participating in exhibitions.
She focuses her work in all different things she can get inspiration from:
nostalgia, fairytales, cinema, daily things, emotions & psychology.
www.franciscapageo.com
THE IMAGES
"melancholic memories" series pag.36-42
43
05
44
Se7te Secondi Circa
(Italy) audio/video production based in Milan. Crew member: Alessandro G.
Capuzzi, Dario Cristaldi, Emanuele Dainotti & Marco Adamo Graziosi.
www.settesecondicirca.com
THE IMAGES
BELLA ANTIBELLA (Marco Adamo Graziosi) pag.45
TRE VOLTE PAPA (Marco Adamo Graziosi) pag.46
DIE TURKEY DIE (Marco Adamo Graziosi) pag.47
FENOMENO DELLA PERSISTENZA pag.48
Alessandro Capuzzi pag.49-50
51
06
Bartholot
52
BarTholot
(Germany, 1971) Odd beauty dipped in colour. Gentle melancholy adorned
with sweet fears. A pleasant response to an eerie matter.
Robert G. Bartholot is a Berlin-based freelance designer with an emphasis on
photographic illustration and art direction.
He was born in 1971 in Southern Germany and became a graphic designer in
Aachen. He gained experience working in Lucerne and Zurich, before moving
to Madrid to join photography legend Álvaro Villarrubia's team. He’s been
exploring his particular imagery ever since. Beside his interest in dollish
characters he certainly has a weakness for dusty shine, trendless fashion &
striking gloom.
www.bartholot.net
THE IMAGES
"GEOMETRIC HOMICIDE" pag.53
"VILLAGE PEOPLE" pag.54
"CLASSIC NIGHTMARES" SERIES pag.55
"ATLANTIS" SERIES, HONK! Magazine #2, Berlin pag.56
"STRUMPFKOPF" SERIES pag.57
Antonio Culebras, "PORTRAITS" SERIES pag.58
"NIGHTINGALE" SERIES pag.59
60
07
Emmanuel Mathez
61
Emmanuel Mathez
(Italy, 1969) Trained reporter, i work as a freelance photographer, handling
advertising, fashion, portraits and research photography.
www.emmanuelmathez.com
THE IMAGES
"FILM REVISITED" SERIES pag.74-78
72
08
Federico Mancosu
73
Federico Mancosu
(Italy, 1976) Illustrator and web designer, he has been working since 2001 for
the web agency MEDITA srl in Rome for clients such as Cartoon Network
(working on their web contents since 2001), Turner, Medusa Film, Panini,
Capitalia, il Sistina, A.C. Milan, WWF, Procter & Gable, AceaElectrabel, Enel
Sfera, Finmeccanica, Ethicon, Cassa Depositi e Prestiti, Buffetti, Music Box, Mr.
Amore, Radio Globo creating websites, advergames, business presentations,
logos, banners and applications of various kind.
He is a huge fan of Italian exploitation FILMS of the 70s/80s.
www.federicomancosu.com
THE IMAGES
"MINIMALIST MOVIE POSTERS" SERIES pag.74-78
79
09
Dan Tague
80
Dan Tague
(USA, 1974) Lives and works in New Orleans.
Images courtesy of Jonathan Ferrara Gallery www.jonathanferraragallery.com
The appeal and power of money are the issues at the core of this series. In a
capitalist society cash rules everything. Society teaches us that you can buy love,
happiness, and status through possessions. You can even right wrongs by taking
away a bit of someone’s happiness through fines and lawsuits. Politicians buy votes
through claims of lowering taxes, in other words letting us hold on to a little
more status… upper, lower, upper-lower class. Income tax, sales tax, and property
tax all fund the war on terror, war on drugs, war on poverty, war on morality,
etc. In fact our consumer pursuit of happiness is the cause and solution for all of
these wars.
Military aggression costs billions of dollars and often leads to economic strain
resulting in job loss, decline in education, and further restrictions in medical
resources for citizens. In this light some of our basic freedoms are compromised
to protect our more capitalist interests. Charles Sumner adds, “Give me the money
that has been spent in war and I will clothe every man, woman, and child in an
attire of which kings and queens will be proud. I will build a schoolhouse in
every valley over the whole earth. I will crown every hillside with a place of
worship consecrated to peace. The cost of war has created an internal war on
our economy, where the generals are CEOs and the tanks are toxic assets. This is
a costly war under the camouflage of billion dollar bailouts. The only question
now is where do we go from here.”
"«Every gun that is made, every warship launched, every rocket fired signifies in the final
sense, a theft from those who hunger and are not fed, those who are cold and
are not clothed. This world in arms is not spending money alone. It is spending the
sweat of its laborers, the genius of its scientists, the hopes of its children. This is
not a way of life at all in any true sense. Under the clouds of war, it is humanity
hanging on a cross of iron."» - Dwight Eisenhower
www.dantaguestudio.com
THE IMAGES
Don't Tread On Me / 116 cm x 122 cm / pag. 59
Reality Sucks / 90 cm x 98 cm / pag.60
Trust No One / 76 cm x 56 cm / pag.61
We Need A Revolution / 114 cm x 106 cm / pag.62
The American Idol / 92 cm x 94 cm / pag.63
Live Free Or Die / 112 cm x 152 cm / pag.64
87
10
ZAPRUDERFILMmakersgroup
88
ZAPRUDERFILMmakersgroup
(Italy) Based in Roncofreddo (FC) Italy, ZAPRUDERFILMmakersgroup was
formed in 2000 by David Zamagni, Nadia Ranocchi and Monaldo Moretti.
Zapruder’s work creeps into the interstitial area between visual,
performance and cinematographic arts; audiovisual outputs driven by an
ongoing challenge to language and medium that give rise to what the
group defines as “Chamber Cinema”, a sort of incarnated and tactile cinema,
as well as a form of incorporeal theatre. Since 2005, the group has been
exploring and employing stereoscopic techniques in its production of FILM
and installations.
A signifiFIcant part of Zapruder’s work has taken place within the context
of Italian experimental theatre. Zapruder’ works have been shown in many
leading festivals and venues.
Regular team members: David Zamagni and Nadia Ranocchi (authors and
directors of Zapruder’ projects), Monaldo Moretti Photography
(Director, actor), Francesco ‘Fuzz’ Brasini (musician, since 2006, he is
involved in Zapruder’ films soundtracks, sound installations and concerts
as (S)wing and Criptofonia), Giancarlo Bianchini (builder), Alessandra Brunelli
e Mirco Guidi (scenographers), Elena Biserna (press officer), Mattia Dallara
(sound designer), Andrea ‘Mario’ Marini (web and digital effects), Gerardo Pieri
(mechanical gears), Leonardo Monti (LM Cineservice, coproducer).
www.zapruderie.com
THE IMAGE
All Inclusive (2010). Ambra Senatore, Nadia Ranocchi, David Zamagni, Sara Masotti (foto di
Manuel Zani). pag.89
All Inclusive (2010). Ambra Senatore, Sara Masotti. Nadia Ranocchi, David Zamagni, Monaldo
Moretti, Manuel Zani (foto di Manuel Zani). pag.90
All Inclusive (2010). David Zamagni e Nadia Ranocchi (foto di Monaldo Moretti). pag.91
Cock-Crow (2009). Eleonora Amadori (foto di Nadia Ranocchi). pag.92
Pletora (2008). Eleonora Amadori, David Zamagni, Monaldo Moretti (foto di Nadia
Ranocchi). pag.93
Pletora/Stillstrips (2008). tyche: Eleonora Amadori, soldier: Monaldo Moretti. pG.94-101
Fault (2009). Cava Gioia MS. Monaldo Moretti, Nadia Ranocchi ( foto di David Zamagni) pG.102
103
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