RudolfArnheim.it




	Rudolf Arnheim and Cinema's columns The results of an inquiry about Cinema's pseudonyms between 1936 and 1938 A new research path on Arnheim and Italy arises from a few statements about Cinema, which Arnheim himself released in Cinema Nuovo during the '70s and the '80s (see R. Arnheim, 'L'esito ideologico ultimo approdo del film,' Cinema Nuovo, No. 255, Sep.-Oct. 1978: 9; R. Arnheim, 'Come un tifoso d'oggi amai il cinema in Italia,' Cinema Nuovo, No. 301, May-Jun. 1986: 35-36). Correspondence with readers, innovations and technique, advices to photo-amateurs were topics Arnheim dealt with from 1936 to 1938. The signature by pseudonym and discordant information made the authorship of those pages uncertain. Nevertheless, a complete reconstruction of Rudolf Arnheim's Italian writings on cinema and media can not ignore this wide, though so far hidden, contribution. Nostromo [Capo di Buona Speranza] Marie Onussen [Voi fotografate noi pubblichiamo] [Fotografia] Ciak [Notizie tecniche] [Scienza e tecnica] Candido [Bianco e Nero] Nostromo [Capo di Buona Speranza] \| TOP The readers' letters column called 'Capo di Buona Speranza' was first attributed to Francesco Pasinetti (see M. Mida, 'La testimonianza di un allievo,' Cinema Nuovo, No. 271, Jun. 1981: 41). This information was also confirmed by Guido Aristarco (see G. Aristarco, 'Francesco Pasinetti, una lezione disattesa,' Cinema Nuovo, No. 271, Jun. 1981: 44). Nevertheless, it must be specified that, firstly, the correspondence with Cinema's readers was attended by some members of the editorial staff and signed by Gianni Puccini (from No. 2 to No. 6). Then, it was signed by the pseudonym 'Il Nostromo' (from No. 7). At a second time, the pseudonym was to attribute to Arnheim only (see R. Arnheim, 'Arnheim e il Nostromo,' Cinema Nuovo, No. 274, Dec. 1981: 58). A new member of the editorial staff presumably replaced Arnheim in the summer of 1938 (see Domenico Meccoli, 'Ancora su Arnheim e il Nostromo,' Cinema Nuovo, No. 275, Feb. 1982: 29), when he was obliged to escape from Italy because of the Nazi persecution. *Gianni Puccini, 'Capo di Buona Speranza' (Corrispondenza coi lettori), from No. 6 (25 Sep. 1936) to No. 11 (10 Dec. 1936), in Cinema:* • No. 6, 25 Sep. 1936: 241-242. • No. 7, 10 Oct. 1936: 279. • No. 8, 25 Oct. 1936: 317. • No. 9, 10 Nov. 1936: 358. • No. 10, 25 Nov. 1936: 396. Il Nostromo, 'Capo di Buona Speranza' (Corrispondenza coi lettori), from No. 7 (25 Dec. 1936) to summer 1938 (date uncertain), in Cinema: • No. 11, 10 Dec. 1936: 439. - No. 12, 25 Dec. 1936: 490. - No. 13, 10 Jan. 1937: 36. - No. 14, 25 Jan. 1937: 73-74. - No. 15, 10 Feb. 1937: 414. - No. 16, 25 Feb. 1937: 151-152. - No. 17, 10 Mar. 1937: 195. - No. 18, 25 Mar. 1937: 237-238. - No. 19, 10 Apr. 1937: 277-278. - No. 20, 25 Apr. 1937: 345-346. - No. 21, 10 May 1937: 387. - No. 22, 25 May 1937: 428. - No. 23, 10 Jun. 1937: 467. - No. 24, 25 Jun. 1937: 503. - No. 25, 10 Jul. 1937: 29. - No. 26, 25 Jul. 1937: 62. - No. 27, 10 Aug. 1937: 101. - No. 28, 25 Aug. 1937: 138. - No. 29, 10 Sep. 1937: 174. - No. 30, 25 Sep. 1937: 210. - No. 31, 10 Oct. 1937: 247-248. - No. 32, 25 Oct. 1937: 282-283. - No. 33, 10 Nov. 1937: 314. - No. 34, 25 Nov. 1937: 354. - No. 35, 10 Dec. 1937: 394. - No. 36, 25 Dec. 1937: 449. - No. 37, 10 Jan. 1938: 34-35. - No. 38, 25 Jan. 1938: 66-67. - No. 39, 10 Feb. 1938: 106-107. - No. 40, 25 Feb. 1938: 139. - No. 41, 10 Mar. 1938: 178-179. - No. 42, 25 Mar. 1938: 211. - No. 43, 10 Apr. 1938: 250-151. - No. 44, 25 Apr. 1938: 285. - No. 45, 10 May 1938: 322-323. - No. 46, 25 May 1938: 355. - No. 47, 10 Jun. 1938: 395. - No. 48, 25 Jun. 1938: 427. - No. 49, 10 Jul. 1938: 34-35. - No. 50, 25 Jul. 1938: 66. - No. 52, 25 Aug. 1938: 135. A selection of these contributions has been reprinted in Rudolf Arnheim, I baffi di Charlot. Scritti italiani sul cinema 1932-1938, edited by Adriano D'Aloia, Kaplan, Torino 2009: 258-264. Marie Onussen [Voi fotografate noi pubblichiamo] [Fotografia] \| TOP The photo-amateurs column was signed by the pseudonym 'Marie Onussen,' derived from the name of Arnheim's sister, column's co-author, and the inversion of the word 'Nessuno' (Nobody) (see R. Arnheim, 'Arnheim e il Nostromo,' Cinema Nuovo, No. 274, Dec. 1981: 58). These writings are then to be attributed to Rudolf Arnheim and/or Mary Arnheim-Gay. Marie Onussen, Voi fotografate noi pubblichiamo, Cinema, No. 22, 25 May 1937: 417-418. - No. 23, 10 Jun. 1937: 463-464. - No. 24, 25 Jun. 1937: 505. - No. 25, 10 Jul. 1937: 25. - No. 26, 25 Jul. 1937: 60. - No. 27, 10 Aug. 1937: 98. - No. 28, 25 Aug. 1937: 131-132. - No. 29, 10 Sep. 1937: 171. - No. 31, 10 Oct. 1937: 243. - No. 33, 10 Nov. 1937: 313. - No. 35, 10 Dec. 1937: 391. - No. 37, 10 Jan. 1938: 28-29. - No. 40, 25 Feb. 1938: 137-138. - No. 43, 10 Apr. 1938: 248-249. - No. 46, 25 May 1938: 354. - No. 49, 10 Jul. 1938: 25. - No. 51, 10 Aug. 1938: 100. - No. 54, 25 Sep. 1938: 201-202. - No. 56, 25 Oct. 1938: 261. The page dedicated to Photography was generally edited by Guido Pellegrini. Sometimes however Arnheim's name or the pseudonym 'Marie Onussen' appeared. Marie Onussen, 'Istantanee in casa,' Cinema, No. 17, 10 Mar. 1937: 192. Marie Onussen, 'Pronti in 45 minuti!,' Cinema, No. 19, 10 Apr. 1937: 263. (rnh), 'Memorie della camera oscura,' Cinema, No. 36, 25 Dec. 1937: 433-435. Reprinted in Rudolf Arnheim, I baffi di Charlot. Scritti italiani sul cinema 1932-1938, edited by Adriano D'Aloia, Kaplan: Torino 2009: 272-275. Rudolf Arnheim, 'Esame di coscienza,' Cinema, No. 44, 25 Apr. 1938: 289-290. Reprinted in Rudolf Arnheim, I baffi di Charlot. Scritti italiani sul cinema 1932-1938, edited by Adriano D'Aloia, Kaplan: Torino 2009: 275-279. Ciak [Notizie tecniche] [Scienza e tecnica] \| TOP Because of the lack of references, the attribution of the pseudonym "Ciak", that signed the column dedicated to technical innovations and discoveries, has to be considered uncertain. However, some articles written by Arnheim in the '50s (see R. Arnheim, 'Come un tifoso d'oggi amai il cinema in Italia,' Cinema Nuovo, No. 301, May-Jun. 1986: 35-36), the style and contents of those writings, which are very similar to the «Intercine»'s Expression, make it plausible to ascribe them to him. Moreover, two of those articles were signed by Arnheim himself. Ciak, 'Come 'suona' il vostro profilo,' Cinema, No. 1, 10 Jul. 1936: 16-17. - 'Primo avviamento ai trucchi,' Cinema, No. 1, 10 Jul. 1936: 17-18. - 'Distanza e direzione del suono,' Cinema, No. 2, 25 Jul. 1936: 62. - 'Le porte fragorose,' Cinema, No. 4, 10 Aug. 1936: 115. Partially reprinted as 'La galleria di ex-voto di Pudovkin.' In Orio Caldiron (ed.), Il lungo viaggio del cinema italiano. Antologia di "Cinema" 1936-1943, Marsilio: Padova 1965: 128. (anonymous), 'I trucchi del cinema,' Cinema, No. 4, 10 Aug. 1936: 101. Ciak, 'La successione delle scene e il montaggio,' Cinema, No. 5, 10 Sep. 1936: 179. Partially reprinted as 'Fonofilm e sceneggiatura.' In Orio Caldiron (ed.), Il lungo viaggio del cinema italiano. Antologia di "Cinema" 1936-1943, Marsilio: Padova 1965: 129. - 'Il primo carrello-gru italiano,' Cinema, No. 10, 25 Nov. 1936: 397. - 'Un organo senza canne,' Cinema, No. 11, 10 Dec. 1936: 441. - 'Una strana battaglia,' Cinema, No. 12, 25 Dec. 1936: 491-2. - 'Il cinema come arbitro sportivo,' Cinema, No. 13, 10 Jan. 1937: 37. - 'Attenti al microfono,' Cinema, No. 14, 25 Jan. 1937: 67-68. - 'Disegni plastici animati,' Cinema, No. 17, 10 Mar. 1937: 188. (anonymous), 'Presa simultanea e montaggio,' Cinema, No. 17, 10 Mar. 1937: 188. (rhn), Pesci d'aprile. Le meraviglie della tecnica, in Cinema, No. 18, 25 Mar. 1937: 217-219. Reprinted in Rudolf Arnheim, I baffi di Charlot. Scritti italiani sul cinema 1932-1938, edited by Adriano D'Aloia, Kaplan: Torino 2009: 264-268. Ciak, 'Gli schermi riflettenti,' in Cinema, No. 19, 25 Apr. 1937: 272. - 'La neve a temperatura estiva,' in Cinema, No. 22, 25 May 1937: 408-409. - 'Malattie della pellicola,' in Cinema, No. 24, 25 Jun. 1937: 501-502. - 'Colori a lenticchie,' in Cinema, No. 26, 25 Jul. 1937: 63. - 'Vedere il suono,' in Cinema, No. 27, 10 Aug. 1937: 98. - 'Trucchi senza nome,' in Cinema, No. 28, 25 Aug. 1937: 137. R. Arnheim, 'Le leggi del colore,' in Cinema, No. 29, 10 Sep. 1937: 170-171. Reprinted in Rudolf Arnheim, I baffi di Charlot. Scritti italiani sul cinema 1932-1938, edited by Adriano D'Aloia, Kaplan: Torino 2009: 268-272. Ciak, 'Un signore e un salotto,' in Cinema, No. No. 34, 25 Nov. 1937: 351. - 'Lo schermo gigante,' in Cinema, No. 35, 10 Dec. 1937: 382. - 'La televisione in Italia,' in Cinema, No. 35, 10 Dec. 1937: 382. - 'Verso la perfezione,' in Cinema, No. 36, 25 Dec. 1937: 443-444. - 'Bilancio annuale dei tecnici,' in Cinema, No. 37, 10 Jan. 1938: 32. - 'La ridda dei trucchi,' in Cinema, No. 38, 25 Jan. 1938: 55. - 'Un pioniere,' in Cinema, No. 40, 25 Feb. 1938: 126. - 'Psicologia dei colori naturali,' in Cinema, No. 43, 10 Apr. 1938: 234. - 'Topolino raggiunge lo spazio,' in Cinema, No. 44, 25 Apr. 1938: 271. - 'Tornano gli incendi al vermiglio?,' in Cinema, No. 45, 10 May 1938: 312. - 'Curiosità tecniche,' in Cinema, No. 48, 25 Jun. 1938: 408. - 'Suoni invertiti. Suoni plastici,' in Cinema, No. 49, 10 Jul. 1938: 20. - 'Ricostruzioni,' in Cinema, No. 50, 25 Jul. 1938: 61. - 'Nebbie e tifoni,' in Cinema, No. 52, 25 Aug. 1938: 129. - 'La macchina per fare la nebbia,' in Cinema, No. 59, 10 Dec. 1938: 356. Candido [Bianco e Nero] \| TOP In 1937 appeared the irregular column called 'Bianco e nero'. The column consisted in double film critic reviews and was signed by two pseudonyms: "Candido" (the optimist) and 'Arpagone' (the pessimist) that hid the identities of Rudolf Arnheim and Gianni Puccini (see G. Puccini, 'Storia di «Cinema».' In Orio Caldiron (ed.), Il lungo viaggio del cinema italiano. Antologia di «Cinema» 1936-1943, Marsilio: Padova 1965: LXXIX, reprinted of G. Puccini, 'I tempi di «Cinema»,' Filmcritica, No. 5, May 1951: 151-155 and G. Puccini., 'Il venticinque luglio del cinema italiano,' Cinema Nuovo, No. 24, 1 Dec. 1953: 340-342). The exact pseudonyms attribution was Rudolf Arnheim (Candido) and Gianni Puccini (Arpagone) (see Orio Caldiron, Cinema 1936-1943. Prima del neorealismo, Fondazione Scuola Nazionale di Cinema: Rome 2002: 10). Candido - Arpagone, Vigilia d'armi, È arrivata la felicità, Voglio essere amata, L'imperatore della California, Il sentiero della felicità, in Cinema, No. 14, 25 Jan. 1937: 69-71. Reprinted in Rudolf Arnheim, I baffi di Charlot. Scritti italiani sul cinema 1932-1938, edited by Adriano D'Aloia, Kaplan: Torino 2009: 279-282. Candido - Arpagone, Lo studente di Praga, Amore tzigano, L'amato vagabondo, I nostri parenti, in Cinema, No. 15, 10 Feb. 1937: 109-111. Reprinted in Rudolf Arnheim, I baffi di Charlot. Scritti italiani sul cinema 1932-1938, edited by Adriano D'Aloia, Kaplan: Torino 2009: 283-285. Candido - Arpagone, Maria di Scozia, I cavalieri del Texas, Il mio amore eri tu, La carica dei Seicento, in Cinema, No. 16, 25 Feb. 1937: 155-157. Reprinted in Rudolf Arnheim, I baffi di Charlot. Scritti italiani sul cinema 1932-1938, edited by Adriano D'Aloia, Kaplan: Torino 2009: 285-288. Candido - Arpagone, La donna del giorno, Il paradiso delle fanciulle, Ramona, La bambola del diavolo, Seguendo la flotta, Contessa di Parma, in Cinema, No. 21, 10 May 1937: 389-390. Reprinted in Rudolf Arnheim, I baffi di Charlot. Scritti italiani sul cinema 1932-1938, edited by Adriano D'Aloia, Kaplan: Torino 2009: 289-293. The editor is grateful to Marco Muscolino for his advices about the "Bianco e nero" column.