Carousel has taught Italians to consumers and businesses has taught him to communicate " (1.)
The Italian advertising around the fifties was still, if we are in a phase of backwardness compared to the American model where advertising and television in a way they had traveled the same road together.
In Italy at a time when television had begun to regularly submit in 1954, advertising, which had been introduced with some concern not only with extreme caution by the leaders Rai, had made its appearance with "Carousel."
Advertising agencies of the '50s were real design studios where advertising was commissioned by the companies themselves: creative people took care of the graphics, while the part written for posters and announcements to be published in the newspapers was the most frequently curated by some journalist friend.
Spurred American model and the structure of advertising agencies were taken as an example in our country: thus the first advertising agencies (sometimes branches of large multinational companies) and parallel also the first professional associations.
Studies in Italy were transformed into agencies such as the Itamco, the Omnia, the initials EMI and in 1956 the advertising agency Armando Testa, which still produces in major campaigns both nationally and internationally recognized .
The Italian advertising around the fifties was still, if we are in a phase of backwardness compared to the American model where advertising and television in a way they had traveled the same road together.
In Italy at a time when television had begun to regularly submit in 1954, advertising, which had been introduced with some concern not only with extreme caution by the leaders Rai, had made its appearance with "Carousel."
Advertising agencies of the '50s were real design studios where advertising was commissioned by the companies themselves: creative people took care of the graphics, while the part written for posters and announcements to be published in the newspapers was the most frequently curated by some journalist friend.
Spurred American model and the structure of advertising agencies were taken as an example in our country: thus the first advertising agencies (sometimes branches of large multinational companies) and parallel also the first professional associations.
Studies in Italy were transformed into agencies such as the Itamco, the Omnia, the initials EMI and in 1956 the advertising agency Armando Testa, which still produces in major campaigns both nationally and internationally recognized .
1 
2 
l 'image No. 2 is the manifesto of Armando Testa to a factory of printing inks, 1937.
Malevich was the first to paint compositions of geometric shapes that are an absolute abstraction.
Armando Testa Advertising realized often essential, where the shapes and colors resumed characteristics of 'modern art.
Advertising Armando Testa of Digestive Antonetti, 1963.
The media used for advertising as we know were the traditional ones: the simple display, print, radio and cinema.
the progress charts and typographical much improved the quality of the print media were added some solutions in parallel cinema.
The cinema was seen as the best way to produce animated commercials. The studios were born in Milan in particular: they could count on growing demand from the companies through which the work of persuasive advertising
film could bring new products and the consumption rates of Italy's economic boom.
While advertising agencies during the fifties saw increasing demand for television advertising, especially when spread on half the advertising campaigns for consumer products to the inspiration of the Italian artists before it channeled in the field of film advertising. This is both an
moment of transition between the production of feature films, with no preparation time and cost effective detection of appreciation, and standardized production and serial of "Carousel", because with the advent of television advertisers decreed the production crisis in the field of cinema advertising, given that television was now the most modern and dependable. In 1949 the brothers
Pagot realize not only the first cartoon advertising after the war, but also the very first cartoon in Technicolor printed at international level: it is "Dream of Love" for the White Sarti.
E 'especially with this type of advertising, film-making, born testimonial: by Edward De Filippo, who initially launched an appeal to vote Christian Democrat then passing for advertising Cognac Sarti, Titina by De Filippo, Walter Chiari Coppi and Bartali and Marisa Maresca. In the early years of production of television advertising production houses will have a cartoon of incredible braking of revenue, not only because as I said before television was gradually consolidating, but precisely because the former are produced entirely from advertising with real actors.
Scene of an advertisement with Peppino De Filippo, who plays "chef Peppino superfine", 1957
Advertising Panels where Paul played "Ercole", 1961
The testimonial took on great importance in advertising over time. In addition to increasing sales of the product, the presence of a familiar face was synonymous with credibility that is well tied to the promises made promises on the quality of products.
On Virna Lisi who plays "The Horse's Mouth" for Chlorodont.
In the middle of the scene from where advertising is also Raimondo Vianello, early sixties.
With the arrival of television advertising was a rise in requests from the client, and consequently the caches of testimonial took off by the choice of advertising production decline in the ability of the cartoons.
was immediate and then the next step. Recognized by young and old animated characters could take the place of people in the flesh, so that creative people and artists were able to give unlimited space to productions of fantasy.
From the very first "Carousel" will be very little time to see action with fantastic characters that become icons.
was immediate and then the next step. Recognized by young and old animated characters could take the place of people in the flesh, so that creative people and artists were able to give unlimited space to productions of fantasy.
From the very first "Carousel" will be very little time to see action with fantastic characters that become icons.
"Before symbol "
" "Sinopoli, who was the official Sacis he had to do" Carousel ", called me one night terrified, saying," Luciano, tomorrow we go on the air with Carousel: we do not have the code ". This was the eve of "Carousel." Then I said, "Let's see if there is a children's carousel the carousel ...." But he was very banale.alle seven in the evening I had the idea to the stage: to line a long corridor of five tendon opened. I've done painting by his wife, architect Polidori and we turned up at five in the morning. There was a trolley that went on there were people who opened. In the morning we
brought it all to develop and I spent the night, while preparing to seek the entire theater music to Icom. I seem to remember that it was a documentary on snails: Tatataratararatarara ... find the music!
short to make it five in the afternoon was ready brevealle marked with. We took the Sacis and was broadcast in the evening at nine. (2.)
"Sunday, February 3, 1957, at 20:50. on the television screen shows the design of the theater closed by heavy curtains, zoom on the curtain that opens and reveals another four later on which two dancers are drawn, four acrobats forming a human pyramid, two musicians and two lovers, the final curtain finds the design of pulp in two pages that hold a banner that reads: Carrousel. "
first publication:
" Contribution Shell to traffic safety. Canestrini Giovanni speaks of: RHD or LHD? Second
Advertising:
"A character for you." Mike Buongiorno presents the lacquer Plix offered by L'Oreal and asks: "From a Plix ask your hairdresser."
Third Advertising:
"Dial fashioned. With Mario Carotenuto and calls for: "creative personnel with an elegance automatic machine Singer." Fourth
Advertising:
"The Art of Drinking." By Charles Bell is the bartender and Tino Bianchi makes the magician who invites to drink Cynar: "Against the strain of modern life" which not long after will be replaced by Calindri.
The very first evening concludes with carousel roll, marking the tail, the entr'actes close in one after another, and the speaker announces, "Italian Shell, L'Oreal, Singer, Big Brands Associate I have submitted - Za-za-za-za-za-zazaraza - Carousel "(3.)
" The capital of advertising was Milan, where there were large agencies. In Milan, for example, there was a range film, in terms of animation covered the 50/60 percent of the market all alone. Rome existed only as holding a sort of copyright over the movie in general: in Rome there were directors, directors of photography, sound stages, the workers. Milan was not equipped with this view and the Milanese were mostly shooting in Rome. Milan then slowly began to organize themselves for shooting on site and Rome has begun to organize for advertising and, nowadays, I believe that Milan and Rome stand up to weapons production houses pari.Le decentralized Cavandoli a hand, the other Paul Campani, were responsible for more than entertainment, it was a different type of activity, that could be done for appertutto: more craft if you will. '(4.)
The completion of the first real cartoon television advertising came from the production of Roberto and Gino Gavioli range of films.
Scene of "Sport" for the ointment made from Vegetallumina Range Films, 1958
understand the potential of television, the two brothers were able to work for the production of fourteen in 1958 for spot the series of "Vegetallumina," while the brothers in the same year signed Pagot forty-six spot well mixed, for several brands. The creation of the character, "the little man with a mustache" for "Bialetti" first of all others, it is the author of comics Paul Campani that will work with many famous advertising between 1956 and 1972. (5.)
"Besides the nicest actors have entered the public successfully created characters and animated by the imagination of designers. The levers of the second hour are typically those that solve a battle. Not necessarily military, they also include advertising battle. Their contribution is more significant: there's fresh, well-equipped, strong experience of others. And that's it. So it also happened to Carousel, the television program that offers theater pills to children and adults. The older shorts, reminiscent of a previous article, were given the task to break through a front, that of the public, of which one could rightly feared the suspicion of a final review in advertising. The first goal was almost reached in record time, partly because Carousel was immediately show full of fun, varied. The entr'actes the second hour, taking stock of tastes and reactions of the public, have consolidated positions, confirming the success of the formula. '(6.)
addition to the cartoon characters are a lot of the characters that made the scene of "Carousel," I speak of the characters in flesh ed'ossa. In a 2008 interview with Corrado Farina says
"Advertising had this extraordinary, that having a large turnover of principals and arguments, and respectable budgets available, allowed to make a type of experiments that did not allow the commercial cinema. Somehow, the carousels have been an extraordinary fitness, which not only allowed to learn to use the camera but also to experiment with different languages. "(7.)
Notes:
1. Interview with Edmund Berselli in "Carousel" DVD coming out with "la Repubblica and L'espresso," 2007 Rome.
2. "The best of Carosello.1957-1977" by Guia Croce, Luciano Emmer, "The first letter", page 5, Giulio Einaudi editore spa, Torino 2008.
3. "Carousel" by Piero Dorfles, p.. 7 and 8, the publishing house "Il Mulino, Bologna 1998.
4. "The best of 1957-1977 Carousel" by Guia Cross, Corrado Farina in "Rome and Milan", pg. 74, Giulio Einaudi editore spa, Torino 2008.
5. "A perfect world. Pagot The publicity film of the brothers," by Roberto Della Torre and Pagot Marco, Marco Giusti, Page 29, Editrice Il Castoro srl, Milan 2005.
6. "Radiocorriere" article p. 16, Carousel here are the new stars of the 21 ", N ° 43, 22-28 October 1961.
7. "The best of 1957-1977 Carousel" by Guia Cross, Corrado Farina "A gym extraordinary", pg. 75, Giulio Einaudi editore spa, Torino 2008.
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