NOVEMBER 7 - THE ROLE OF COLOR AND LIGHT; THE FUNCTION OF

SOUNDTRACK.
THE ROLE OF COLOR AND LIGHT
FROM BLACK AND WHITE TO COLOR
Before color, in the history of cinema, one must talk about coloring. Executed in
my frame by frame, with empirical processes including toning,
the imbibition, etc., it has been present since the origins: Lumière, Méliès, Pathé, all
they have colored or painted some of their films or some parts of it. From
the characteristic yellowish of Lumière films was transitioned to tinting based on
spectacular of historical giants like 'Cabiria'seeinternet card directors (1914).

At the same time, the first mechanical processes were studied from different parts.
often anything but practical, of chromatographic cinematography for additive synthesis of two or three

essential colors. After Kinemacolor, the Technicolor process became dominant,

experimented in the 1910s and adopted in the following decade with the bichromic system
non-additive, but subtractive (as in "The Black Pirate", 1926, by A. Parker with D.
Fairbanks). The first phase, after several musicals, ended in 1933 with "The Mask".
of wax”, by Michael Curtiz. The trichrome phase began instead in 1932 with the “Silly
"Symphonies" by Walt Disney and continued with the short film "La Cucaracha" (1934) by
L. Corrigan and 'Becky Sharp' (1935) by Rouben Mamoulian, a film famous for its
red capes and from which the true story of the color film began.
Color correction
It takes place in the post-production phase, and allows for adjustments to the tone of
color of the various shots, in order to achieve a stylistic continuity or specific features
chromatic effects. While in the past it was achieved with filters during shooting, or with
measures during the printing phase of the films, today it often happens directly
to the computer and simultaneously to the editing, especially if digital cameras are used.
Lighting
It is one of the most important aspects of photography. It can be done in various ways:
from above, from below, from behind the subjects (against the light), from one side and frontally. They are

infinite possible combinations in the arrangement of artificial light sources, with

in addition the possibility to filter them, to directly use the natural sunlight or the
so-called 'diffused light' (with shadows minimized). It is in the use of light that
the artistic skills of the director of photography come into play more significantly and the
your ability to highlight surfaces, perspectives, outlines, the physiognomy of a
lens, etc. Furthermore, the amount of light in the scene affects the choice of aperture.
with repercussions on the depth of field.

THE FUNCTION OF MUSIC

The music of the film is an external element that serves as accompaniment to
images. Its function is to prepare the public for the flow of images,
highlighting the characters' moods or particular visual themes in parallel to
images, or counterpoint. The musical commentary does not aim for independent results,
preserves a character, while integrating into the story. The musical commentary of a film
can understand pre-existing passages that contribute to the atmosphere of the film, or the
personality of the characters who listen to or, at times, interpret the musical pieces.
THE SOUND
It is precisely the great directors like René Clair, King Vidor, Murnau, Eisenstein who...
they were opposed to the sound, it is credited with having adopted it with notable results
narratives. Pudovkin wrote: ... I am convinced that the sound film is, in potential, the art
of the future. It is not an orchestral or theatrical creation dominated by the actor, similar
to the lyrical opera, but it is a synthesis of vocal, visual, and philosophical elements that give us the

possibility of transfiguring the world into a new art that has followed and that
it will survive all the others, as it constitutes the most important means by which
we will be able to express ourselves today and tomorrow.

Currently, the problem is overcome. Visual and auditory are elements of equal importance.
indissolubly linked in contemporary cinematic work. These are two elements
self-sufficient that overlap. The spoken word has helped make the images
films closer to reality, which is made up of sounds. The viewer has, in this
it's like the feeling of witnessing a fragment of reality.
Silence is an achievement of sound cinema. It is precisely the contrast, later
the interruption of sounds creates extreme tension. It creates a moment of waiting.
the system is also adopted in the circus to dramatize the perplexity of the numbers.
NOISES AND SOUND EFFECTS
In a broad sense, dialogues have a narrative function, music,
Instead, it has a suggestive function. The rumors have an essentially function.
realistic, or the unsettling effect.
THE SOUNDTRACK
The term soundtrack usually refers to the music of a movie, but the
the term includes the full audio (with dialogues and sound effects). From the point of view
"Physical", the soundtrack is the area of the film (the true film) dedicated
at the audio recording.
The soundtrack of a film accompanies and highlights the unfolding of the movie, and
The music can be "original" or not (two categories awarded separately,
for example, at the Oscars). It can also be completely absent, and in this case
the music comes directly from within the film (diegetic music)
The soundtrack in a broad sense constitutes the audio of a film or a work.
multimedia. In terms of film formats, the soundtrack is the physical area
of the film dedicated to recording synchronized sound.
The term is commonly used to refer simply to the music of a film, and/or
to the album that contains the music.
In many cases, these are composed exclusively and specifically for the film or the album (as
that of Saturday Night Fever). In 1916, Victor Schertzinger recorded the first music to be used
specifically for a film, and the sale of movie soundtracks became one
standard in the 1930s.

Some soundtracks, or some songs extracted from them, have remained memorable.
in the history of cinema. And some famous partnerships between composers and directors have ended

to become a distinctive feature of the filmography of recent times: consider Prokofiev for
Eisenstein for Fellini, Morricone for Leone, Trovaioli for Scola, Carpi for
Comencini.

BIOGRAPHY OF THE MAIN ITALIAN COMPOSERS OF FILM SCORES

Nino Rota (Milan, December 3, 1911 - Rome, April 10, 1979) is a composer
Italian and author of film soundtracks.
Born into a family of musicians, he begins studying piano with his mother. He takes the
first composition lessons from Giacomo Orefice and Ildebrando Pizzetti and at the age of eight
Anni begins to compose.
He entered the conservatory of Milan in 1923, a student of Paolo Delachi and Giulio Bas.
Later he studies privately with Alfredo Casella in Rome, obtaining the
diploma in composition at the Conservatory of Santa Cecilia in 1930.
In 1930, he went to the United States encouraged by the director Arturo Toscanini, and there

stays for two years, for some improvement courses winning a scholarship at
Curtis Institute in Philadelphia. Here he works, among others, for Fritz Reiner. He returns to his homeland for

graduating in literature at the University of Milan with a thesis dedicated to

composer Gioseffo Zarlino. After creating his first accompaniment
music for the film "Zazà" by Renato Castellani in 1944, later meets,
Federico Fellini engaged in producing 'The White Sheikh'. Since then, between the two artists there
establishes a friendship lasting thirty years and a collaboration for numerous films, well

sixteen between 1951 and 1979, including "8½". The composer dies shortly after the end.
of the recordings of his latest soundtrack for Fellini, 'Orchestra Rehearsal'.
Although primarily known for his work in the film world, Nino Rota
He also composed for theater and ballet with significant international acclaim.

Ennio Morricone (Rome, November 10, 1928) is one of the greatest Italian musicians.
contemporaries, and one of the most renowned worldwide, particularly famous for the
Over 400 film soundtracks in its long career.
career, of which only 30 were written for western films. It is precisely for these last ones,

but, Morricone is better known. His particular and imitated style of

the composition for this genre is exemplified particularly by the soundtrack of
"The Good, the Bad and the Ugly" by Sergio Leone, director with whom the composer
gave rise to a long and fruitful collaboration.
The beginnings Born in Rome, he received his musical training at the Santa Conservatory.
Cecilia graduated in trumpet (7/10), band instrumentation (9/10) and
composition (9.50/10 with Goffredo Petrassi). He also studied choral music and
choir direction. At the same time, he worked as a trumpeter in many
Roman orchestra, thereby forming an eminently practical spirit and creating a
network of knowledge in the entertainment world. He began to write music for films
in 1955, working simultaneously as a light music arranger for several
orchestra and for the records from RCA Italy. Morricone continues to consider himself a
"cultured" composer and writing classical music: the definition of "wizard of the
"soundtrack" is too tight for him.
The collaboration with Sergio Leone In 1964, the collaboration began with
Sergio Leone and Bernardo Bertolucci. The first soundtrack he wrote for Leone was
for the film 'A Fistful of Dollars', in 1965, continuing throughout the series
successor of 'spaghetti-western' directed by the Roman director ('For a Few Dollars More
"More", "The Good, the Ugly, the Bad", "Once Upon a Time in the West", "Duck Your Head"), a
a partnership that lasted until Leone's last film, the gangster movie "Once Upon a Time in
America". creating some of its most famous music. It is precisely for Sergio Leone
that Morricone signs his best soundtracks. The famous one should not be forgotten.
soundtrack of 'Investigation into a Citizen Above Suspicion' (with Gian Maria
Will).
Official recognitions. He wins his first Silver Ribbon in 1970 thanks to the
music from 'Metti una sera a cena', and the second only a year later for 'Sacco
and Vanzetti." The first nomination for an Oscar arrived in 1979 for the score
soundtrack of 'Days of Heaven', which was followed in 1986 by the one for 'Mission'
Mission), which will win the BAFTA (The British Academy of Film & Television
Arts) and the Golden Globe, then in 1987 for "The Untouchables" (Gli Intoccabili), which
he will win the Silver Ribbon, the Bafta and the Golden Globe, for "Bugsy" in 1992 and in
2001 for 'Malèna'. Despite 5 nominations, no Oscar to reward her long career.
and prestigious career.
In 1984, he won another BAFTA for the soundtrack of 'Once Upon a Time in America',
the last film of Sergio Leone. In 1994, he is the first non-American composer to
to receive the lifetime achievement award from the "SPFM - Society for Preservation of Film Music".

In 1995, he received the Golden Lion for Lifetime Achievement at the 52nd International Exhibition.

of the Venice Film Festival and the "Rota" award, established by the "CAM Editions" and by the more

important American entertainment newspaper, 'Variety', to which others should be added,

numerous, honorary awards.
The music of Ennio Morricone has been frequently covered by other artists, who
they have created numerous 'covers' on various occasions. In 2006, Sony BMG started to
working on a big project: a tribute album to the maestro Morricone that involves
all the biggest names in the global music scene. Among the names that will participate
The album features Sting, Luciano Pavarotti, Sarah Brightman, and Roger Waters.
The Canadian Celine Dion recorded, for the occasion, supervised by Quincy Jones, 'I'
"Knew I Loved You", new version of "Once Upon A Time In America" for which it is
specifically created a text by Oscar winners Alan and Marilyn Bergman.
Conductor In the summer of 2006, he conducted the Philharmonic Orchestra of the Theater
at the Scala of Milan in a tour that includes not only the Arena of Verona but also others
important theaters and arenas, including the Greek-Roman theater of Taormina. For the first
the maestro returns to conduct the Orchestra and the Chorus of La Scala in the performance of his most

famous soundtracks.

Armando Trovajoli (or Trovaioli) (Rome, September 2, 1917) is a musician and

Italian composer.
As a child, he learned to play the violin, revealing a remarkable musical talent.
he later graduated in piano and composition from the S. Cecilia Conservatory of Music
in Rome. In 1937 he was hired by Rocco Grasso's orchestra, which the following year wanted him

as a pianist in its entirety. In 1939, he performed with the orchestra of Sesto Carlini,
one of the most renowned jazz formations in Italy of the time.
After the war, he returned to alternating his activity in jazz with that in light music and,
At the same time, he perfected his musical studies, graduating from the Conservatory.
Saint Cecilia of Rome (1948). In 1949 he was chosen to represent Italy at the Festival du
Jazz of Paris, where he played with Gorni Kramer on double bass and Gilberto Cuppini on the

battery.
The following year he began a long series of record recordings (released under the title
"Music for your dreams"). Later on, he created, in collaboration with Piero
Morgan (Piero Piccioni), a series of radio broadcasts, one of the first attempts
Italians to present jazz piano performances with string orchestra.
In the meantime, Trovajoli had made his debut, under the pseudonym Vatro, as a writer of

songs (It's Dawn, Tell Me a Little Sinatra, etc.). In 1952, invited by Alberto Lattuada to
composed music for the soundtrack of "Anna", had his first bestseller
worldwide with EI Negro Zumbón. That same year, Trovajoli performed as a concert pianist.

playing music by Gershwin under the direction of A. Rodzinsky at the San Carlo Theatre
of Naples and of Willy Ferrero at the Basilica of Maxentius in Rome.
In 1953, in addition to writing the commentary for the film "Two Nights with Cleopatra," he participated

as conductor at the Sanremo Song Festival (he also participated in

in 1957).
He achieved a second international success in the field of song with Che m'è
It was launched and engraved on a disc by Sophia Loren (1958). In 1962
Trovajoli, who had previously collaborated on some variety shows, composed
the music for the musical comedy "Rugantino" by Garinei and Giovannini, written with
Pasquale Festa Campanile and Massimo Franciosa, drawing attention to the
intenditori for the study conducted on the popular themes of 19th century Rome,
wisely echoed in his compositions. He achieved equal success with
"Hello Rudy" and "Add a Place at the Table" also by Garinei and Giovannini. The most
suggestive and catchy song from "Rugantino," Rome, don't be foolish tonight,
then became his third global bestseller.
To remember in the repertoire of soundtracks the collaboration with directors such as
Vittorio De Sica, Marco Vicario, Dino Risi, Luigi Magni and Ettore Scola of whom (at
(exception of a film) has composed the entire filmography. Among the many films for which he has

composto figuranoLa ciociara, Ieri, oggi, domani, Matrimonio all'italiana, Sette uomini
Gold, The Scent of a Woman, Tosca, The New Monsters, Ligabue, In the Name of the Pope King, What

How did Totò Baby?, Bitter Rice, The Bishop's Room, Unfair Competition, I
long days of revenge.
Fiorenzo Carpi De Resmini: (1918-1997), author of the music for the adaptation
television and cinematic adaptation of the Collodian masterpiece ('The Adventures of Pinocchio').

He was born in Milan and graduated in composition from the Giuseppe Verdi Conservatory.

studying with Arrigo Pedrollo, Giorgio Federico Ghedini, and Roberto Lupi.
Collaborator of the Piccolo Teatro of Milan, since its founding in 1947, creates the
music for about a hundred performances by Giorgio Strehler.
It also contributes to the cabaret shows of the groups of that period.
performed by actors such as Franca Valeri, Vittorio Caprioli, Alberto Bonucci, Luciano Salce,
Franco Parenti, Dario Fo and Giustino Durano.
Subsequently, he takes care of the theatrical setups of Dario Fo, Vittorio Gassman, Chéreau,
Eduardo De Filippo, Parenti, Battistoni, Gigi Proietti and many others.
Numerous are also the presences abroad, where he works at the National Popular Theatre of
Lion at the Theatre d'Europe Odéon in Paris, in Marseille for the ballet by Roland Petit,
for the National Theatre of Madrid, the Schauspielhaus of Vienna, the Festspielhaus of
Salzburg, the Schauspielhaus in Munich.
In the film industry, he collaborates with Louis Malle, Vittorio Caprioli, Tinto Brass,
Vittorio Gassman, Peter Del Monte, Ugo Gregoretti, Carlo Mazzacurati, Florestano
Vancini, but the director for whom he composes the most soundtracks is Luigi
Among the movie titles, in addition to 'The Adventures of Pinocchio', we remember
“Incompreso”, “Voltati Eugenio” “Infanzia, giovinezza, prime esperienze di Giacomo
Casanova veneziano”, “Cercasi Gesù”, “L’ingorgo”, “Buon Natale, Buon Anno”,
Marcellino bread and wine.
In his resume, we also find some television programs: "Il mattatore" and "Il
hero game", led by Gassman, "The children and us" and "The story" by Comencini,
"Forced Transmission" by Fo, "The Fatal Eggs" by Gregoretti; "The Betrothed" by
Bolchi, "Who has seen it?" and "Canzonissima".
Finally, the 'classical' compositions, chamber music and symphonic works should not be forgotten.

among which we remember “Nocturnal Sonata” ballet suite for flute and violin, “Hymn” for
great orchestra, 'Concerto for flute and chamber orchestra', 'Concertino for violin'
the piano" and the notes for a work, "The dividing door", taken from the novel "The
"Metamorphosis" by Kafka.
Since its first television appearance in 1971, the miniseries 'The Adventures of
"Pinocchio" has had several adaptations, the latest of which is quite recent, on the channel.
satellite.
But the memories are fixed on those five episodes from the '70s, which featured a
the story of Pinocchio is rather special, with this continuous puppet transformation-
child and vice versa.
There is no doubt that the success of 'The Adventures of Pinocchio' is due to the skill of
Comencini, who was able to lead a series of formidable actors, from the unknown Andrea
Balestri, (Pinocchio) to Nino Manfredi (Geppetto), passing through Gina Lollobrigida (The
Fata Turchina), Franco Franchi and Ciccio Ingrassia (the Cat and the Fox), Lionel Stander
(Mangiafuoco), Ugo D'Alessio (master Cherry) and Vittorio De Sica (The Judge).
But a significant part of the merit goes to the music of Fiorenzo Carpi, which
they blended perfectly with the different situations.
We recall 'Journey on the Back of the Tuna', later taken up in 'Birichinata', which

was also characterized by the initial acronym or "In Allegria", which identified Geppetto and
it also became a reason for success, sung by Manfredi himself.
"In search of food" emphasized the numerous moments of difficulty faced by
Pinocchio and Geppetto. "Sonatina" was a tune sung by the Blue Fairy while
Pinocchio watched her dreamily. A tango announced the arrival of the Cat and the Fox or
The song 'Lucignolo' was used to accompany the end credits.
The variations on the different main motives, such as the 'Departure for
the distant Americas," where the theme of Geppetto takes on a rhythm like a poem
dramatic symphonic or the "Suite", unpublished, which represents the "sum" of all the themes
present in the soundtrack, with incursions where sounds of the
Weill Brechtian.
These are themes that, more than 30 years later, are still very alive, confirming
of the talent of Carpi who was graduated in composition.

Native of Pesaro, Riz Ortolanivi completed all his music studies, graduating from
Gioacchino Rossini Conservatory. He then moved to Rome, where he began to work.
as a pianist before joining a radio orchestra. His first
arrangements, modern and original, catch the attention of RAI, where they decide to
to appoint him the direction of the symphonic jazz orchestra for a new television program.
Having as a model the innovative and very personal style of Stan Kenton, Ortolani gives
life in unheard sounds blending strings and winds in an unusual way and exploiting to the
maximum degree the virtuosic potential of both sections. His career of
film composer experiences a turning point in 1962, with the soundtrack of
"Mondo cane" by Jacopetti-Cavara-Prosperi: the theme of the film, which became famous with

More
assures immediate fame and earns him an Oscar nomination, in addition to a Grammy
Award. From now on, Ortolani's activity is incredibly intense and extraordinary.
fortunata: among the many directors, both Italian and foreign, with whom she has collaborated, are the

names of Vittorio De Sica, Edward Dmytryk, Alberto Lattuada, Robert Siodmak, Dino
Risi, Terence Toung, Franco Zeffirelli. More than deserved, therefore, the tribute to his art.
collected in the double CD "The Genius of Riz Ortolani" (Rca): 36 tracks that embrace
over four decades of activity, starting from the mentioned 'More' on the theme of 'But when'
"Are the girls coming?" the film by Pupi Avati set to be released in 2005. Skillful in providing a

soundtrack to the comedy ("Il sorpasso") as to the indigenous thriller ("Non si sevizia
a little duck"), capable of excelling in the ballads steeped in melancholy ("Ghost
"of love," one of its most intense themes) as in the pieces of strong dramatic significance (the

celebrated reason of the TV series "La piovra"), Ortolani is a figure who has few
similar in our local landscape: the journey that takes place in these over two hours of
music is an exceptional experience for the listener, especially if passionate about
cinema.

UNIVERSITY OF LISBON, FACULTY OF LETTERS academic year 2006/07

Italian cinema seminar, November 7, 2006 fourth meeting