this respect, the article that the critic Nino Ghelli published for the magazine "Cinema":
"For both the authors there was a big nightmare to escape the shadow of Disney and so totalitarian empire was in fact influenced by him esercitatanel field of animated drawing with the creation of a wide range of generedi gags and almost forced to widely favor ... [ ] And the praise goes to the first and Pagot Domeneghini is precisely to achieve an expressive technique and a creative imagination as much autonomy as possible (compared to Hollywood). From this point of view The Dynamite Brothers, less successful as the work accomplished of The Rose of Baghdad, is considered more of Pagot coraggioso.Nel film is in fact constant effort of considerable originality (...). Undoubtedly, more unified and refinement, The Rose of Bagdad (...) '(1.).
though it is the first feature film ever made Italian brand, not were highly considered. The reason is to be found in a number of factors: first competition of the majestic "Disney factory," which was an almost impossible for our authors (as for many other foreign artists), where to create a unique style that might be equally sympathetic and convincing to the public had to go all out, and secondly we must consider the lack of attention that the cartoon had in our country (the lack of funds and government assistance ensured an obstacle to sustained production of feature films).
Our moment of glory came with the emergence of "Carousel" animated beautiful romance between creativity and advertising, but the step was not immediate.
few years before the advertising had already given wide-ranging creativity of artists of the "print" and not just marrying fully with the art, for example the aforementioned Depero , or the skill of the posters of Leonetto Cappiello and then a young Armando Testa, which will also work with "Carousel." As for the exhibition of projects less static, the abstract artist Oskar Fischinger for example, in 1935 after he had composed the work "Composition in Blue" and reaching the greatest masterpiece of animation abstract before the German ban on Part of the Nazis in 1934 in the advertising had to realize project for the marketing of cigarettes Muratti "creating a series of animations with the cigarettes moving to the sound of marching in a rigorous formal rhythmic pattern, which becomes a model for all subsequent complaints.
Advertising Oskar Fischinger for the Muratti, 1935
Between 1949 and 1957, advertising agencies had complete control of space in magazines and on wall space, while the advertising for the cinema was still a bracket seeds remained free.
Before you dial the feature film "The Brothers Dynamite," Nino Pagot already in 1928, was little more than vent'enne contacted for the first commissions animated brothers Master, cartoon advertising in Milan. Two years later Pagot founded with Petronio and Gustavo Brunetto of Life, the Rex movie, where he made a few animated movies. In 1943 he founded the Ars dissolved Rex Film, which gives rise to the feature film "The Brothers Dynamite" which was originally named "Ptolemy".
After spending a lot of energy and funds to make the film, the two brothers Toni and Nino Pagot, who meanwhile had several commissions from advertising Ferdinand Mayer, a relative of Master and Director of Publi Enic (the Company's advertising revenues), we found themselves in a position to produce the series cartoon advertising for the cinema. Between 1949 and 1972 are produced more than four ads for the film: "I many commercials produced by Pagot, many feet of film, many from making the journey between Milan and Paris where many countries have been screened by Finland to Kenya, Lebanon and Vietnam. "(2.)
Meanwhile various advertising productions were born and Milan was the city who gathered these extraordinary personalities: Anton Gino Domeneghini, who had produced" The Rose of Bagdad "arrived in the feature Venice alongside the Pagot in 1948, he founded the production company that Ima until his death in 1953, produces cinema advertising; Cavandoli Osvaldo, who left the team founded in 1951 Pagot "Pupilandia" with the photographer Ugo Gelsi, and the collaboration of two artists will be produced short films and commercials to animated puppets.
's nascent television advertising had caused a block of cartoon production companies that are often thrown off by the new field; Osvaldo Piccardo with Elena Pellegrini founded in the early fifties "Studio 3P (Piccardo, Pellegrini & Pellegrini) , were also important production between 1953 and 1972 of commercial and cartoon animation with puppets brothers Roberto and Gino Gavioli , who together founded the Range movie "in 1953. He distinguished himself instead as early as 1928, the Italian-Russian artist Paul White for his ability to give life to objects and puppets especially for advertising purposes: I can trace the work of Fischinger in my imagination to advertising hilarious Italian where Paul White toothbrushes stacked march to the beat of music in "The Circus" made for the toothpaste Chlorodont in 1953. Between 1949 and 1957 he made important works for production companies and Ferry Enic Publi-Mayer. Technically, Paul Smith will be awarded a master of the genre of animated puppets and solid objects, and his work will pave the way even in the country to show this kind of animation, even if the artist's death occurred only in 1958.
Since 1949 is invoked by France to work on some color advertisement for Colgate, Chlorodont ("The Circus", 1953), Palmolive ("The cheerful little train", 1953), DDT of BPD ("Night Watch" 1954 ) Neocid ("School of the Flies", 1955).
Advertising Chlorodont Paul Bianchi of 1953. The technique, which is the stop motion is the same as the advertising of cigarettes in which Oskar Fishinger spazolini like (in this case) come alive and march to the sound of music.
In 1959 two other spaces are created television in different time slots: "Gong" in the afternoon and "Tic Tac" to 20.30 before the newscast, each space is divided into four 30-inch one.
Subjects simpler and more stories are not so closely associated with the production at the end of that year the three big houses animated Italian count, respectively: The Pagot seventy-two movies (including the series semianimata "Did you know that" for Cora, twenty-five "Tic Tac "and several" Gong "), the range will have instead sixty-three movies (forty carousels, twenty-one" Tic Tac "), and Paul will instead Film eighty-four carousels, seventy-six "Tic Tac" and eighteen "Gong". (3.)
Edmondo Berselli said that:
"First, television has taken advantage of that time there were a lot of professionalism in the variety theater, cinema, and not just for directors, for the actors but also for technicians, operators of the lights, for drivers, for all these professional forms that existed and which could be exploited by a new medium. So it's no wonder as to why they said alimntari, even great directors have done, they turned the carousel, and if players of any significance were provided to advertise some product and turn these cose.C ', however, was a dignity television, because the advertisement was located in that moment, there was not much during the day, so that the carousel was more advertising for a product, it was the spectacle of advertising. And in the show there may also be actors cry. '(4.)
Sources:
1. "Italy on board," p. 42 "The cartoons: Disney," Cadet Rousselle and two Italian experiments, "in" Cinema "vs, No. 22, 1948.
2." A perfect world. The brothers' film advertising Pagot, "by Roberto Della Torre and Mark Pagot, Marco and Gi Pagot Pagot , Page 11, Editrice Il Castoro srl, Milan 2005.
3 . "A world of cinema advertising perfetto.Le Pagot brothers," by Roberto Della Torre and Pagot Marco, Marco Giusti, Page 30, Editrice Il Castoro srl, Milan 2005.
4. Berselli Interview with Edmund in "Carousel "DVD out with" la Repubblica and L'Espresso, Rome 2007.
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