Since the beginning of the 900 we have seen the development of civilization of the image. This progressive evolution has been seen as a natural enthusiasm that accompanied the emerging industrial society and mass. the concept of movement have been interested in numerous intellectuals and artists who, through the development of resources and continuous experiments, have been formed, each in a different way, the conditions of the animation when the time was now ripe. trials that led to the creation of the cartoons are happy and diverse. It 's true that the animation was not born in Italy, but we do not speak a single invention, such as the telegraph was Guglielmo Marconi, but an entire universe, a new art form that was recognized. I'm talking about a season full of animated heroes who appeared in advertising and sparked the race to the product and development in Italy of a consumer society, in a sort of domino effect. " To describe the mechanisms of this invention will leave the cinema, which could pave the way for half a century of creativity, which after many years in advertising will produce the Italian social and cultural phenomenon of "Carousel."
"BIDIBI BODIBI BU. The music of Betty Boop cartoons with Peter Gabriel and Joseph Guido Michelone Vallanzise, \u200b\u200bCastelvecchi edition, Rome 1998 .
"Carousel" by Piero Dorfles Company, publisher "Il Mulino, Bologna 1998.
"Dreams. The dreams of the Italians in 50 years of TV advertising" by Gianni Canova, Pearson Addison-Wesley, La Triennale di Milano 2004.
"Encyclopedia of Cine-comic strip," Camillo Moscati, The Old-edition Genoa. "Futurismo.L 'aesthetic speed of the myth of progress "Sabrina Carollo, Giunti Gruppo Editoriale, Florence 2002.
" Journey in the art. The Age of Enlightenment to the present day, Vol.3, Francesco P. Di Giorgio Cricco and Theodore, Zanichelli.
"Italy cardboard" by Piero Zanotto and Fiorello Zangrando, Liviana Editrice in Padova, 1973.
"The factory of the animation. Bruno Bozzetto Italian cultural industry ", edited by Giannalberto Bendazzi and Raffaele De Berti, Editrice" Beaver "Srl, Milan, 2003.
" The digital media arts. History, techniques, languages, ethics, and aesthetic arts of the new millennium "by Andrea Balzola and Anna Maria Monteverdi Edition Garzanti, Milano 2004.
" Radiocorriere "N ° 43, 22-28 October 1961.
" a surprise box. The range of films Roberto Gavioli and audiovisual communication in Italy from carousel today. Presentation by Sergio Zavoli, Jaca Book Editoriale SpA, Milan, 1998. "The best of 1957-1977 Carousel" by Guia Croce, Giulio Einaudi editore spa, Torino, 2008.
Interview with Guia Cross to the "Bay of Silence", Sestri Levante, January 15, 2009.
The morning after having breakfast, I took the 10:00 direct from La Spezia. arrived after forty minutes Sestri. On the way I thought about how it would control the recorder and nervously to see if everything was OK. "Here I am" I thought I had come to Sestri. get off the train and leaving the station I was excited. "And now?" I thought. I had never seen and did not know how to recognize it, then a silhouette of the shoulders in front of me turns around. immediately knew it was her, her first words were: "Simon?" "Yes, she is pleased Guia Cross?" We quickly found. "We so I'll take you in a bar in a nice bar so we can chat! "
"We are in their fifties today, we grew up with" Carousel ", the adults loved it and we children, except Carousel, we had almost nothing like cartoons on TV. " "Here we are!" "... How beautiful!" "You see, you'll see in that beautiful place I've brought you! Voila! Catch all that then there Let us take a coffee! " ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... Talk of the major film studios of cartoon characters. What were their differences? "In Italy the first to confront a animated feature were the brothers Pagot, and then brothers Gavioli (Gamma Film), they are the ones who started the Italian adventure of the cartoon. In my opinion the work of the Gavioli Pagot are more interesting because it was very classic designs with a bit more 'at Disney, always nice, always perfect, a great professional, but not very funny, very inventive. The range instead gave freedom to the employees and there were a number of techniques, different styles. Unfortunately I must always do these things anthologies, I always put characters that the audience remembers, not enough: every time there is always someone complaining because I forgot some characters dear to him. But if you could see the whole range of film production for Carousel you will find that there were other characters, some just a stunning modern, maybe not animated, frame by frame, but with a varied offer. Then the range gave space to young people who went to work there. The Pagot was more traditional choices, all designs had to be examined by the super brothers Pagotto, were willing to do a thing at Disney, with a unity of style very clear. In comparing a large Pagot was the most Disney-style, while the range was closer to Warner Bros, even UPA Cartoons. Although Pagot have created characters who have crossed the border the same "Carousel" as Calimero and Drake. Calimero was chosen, in the collective memory as a symbol of Carousel. While Gavioli were a little 'more modern, a little' more than one investigator, and also more open to new talks. For example, there was one who did some great cartoons for the range to advertise "Fabbri Editori" and had made carousels with stained glass windows of Gothic churches of Europe, accompanied by music of Bach, a very sophisticated, but without 'Another unconventional caroselleschi. In short, things were too risky, not always just for kids. Then there was the Misseri Kappa was the one that was unleashed with the materials: paper, sand, what happened to his hands, tried to animate it. In flatness today to return to the old cartoons, you discover a continuous and not just on this topic. Maybe because now there is almost nothing. Plus there's always the nostalgia effect.
But why I feel this nostalgia even though I have not lived?
Maybe it 's more of a nostalgia for Italy's postwar economic boom, a resurgent nation. So the effect was electrifying, now there, an excellent spread. Italy was a people out of a war, a period of starvation, bombs, employment that suddenly found itself grinding economic growth, optimism and euphoria spread. I believe that those who have gone to war once over, they have had four or five years of pure madness vitalistic. Then, like all developing nations has slipped in consumerism, in totality and so on.
I wanted to ask some questions, there were so many I will be speaking out: in the preface of your book you say: "Carousel allows you to kind of horrifying atmosphere and then get ready for the void of the eighties . In a sense, this statement can be compared to that of Massimo Scaglione, stating that "the end of the carousel, there was a lack of creativity", apart from the publicity that has been standardized, there was just a drop, a creative deficit? "I think so, I remember even as a spectator. In reality, "Carousel" was born by accident because it was necessary to advertise on television as in the other country which has however, but there were no commercials, that were the advertising posters, but there was no figure of television advertising. Then there were all thrown to the fish a little, they were movie people, even the TV there was that little. So it was to be invented: the TV-like advertising. Make the absurdity of the fact that there was no talk of the product up to thirty seconds of the tail, was something for Americans, who were already crammed with television and TV advertising for years, was absurd. But this rule has allowed us to unleash the imagination of all. For example in 1957 for the brandy "Fabbri" you spoke of modern painting, you saw Guttuso Capogrossi or filmed while painting on glass, with the camera on the other side of the glass. You could see a work born out of nothing, but what concerned the quality of a little brandy. Then as the whole of Italy felt like the Americans do, in America there were already all these forms of organization that were iperprofessionali, there were all these figures as the brand manager, the manager story, the designer brand etc. While we were advertising in the three sat at the table laughed, and threw down the idea. Too bad that in the book I could not contain the laughter that was Peserico when he told his twenty-year career as a manufacturer of carousels. Alas, unfortunately I only have the interview audio, not filmed. There was all this randomness, all this fun, it was a done deal to a po'così "carelessly." But "carelessly" we Italians have always worked much better when we do the professionals. Then came the social & Mc Cann Ericksson and other super agencies. And the same business leaders were more chic consult a professional agency. Everything is told very effectively by Vito Molinari: "Moving forward in the mid-seventies, there was just a complete change, total, that began to arrive in Italy and become the big agencies that were small, but above all Italian American agencies or agencies that were derived from large U.S. agencies controlled by large American groups. These agencies had at their disposal many a lot of money and then opened of the wonderful locations, which were a bit 'a smokescreen for big clients, who were faced with great rooms, a splendid rooms, 25 secretaries, so many people working in agencies with American names strange. And I believe 80% of customers did not understand anything, not even knew, nor what they were doing, nor what he meant as: starting with Account. "
and there he is finished the level, what I call the atmosphere . Cesare Tauarelli tells it well: "Once he got the overpaid American who has shot a carousel, on a day, while we were doing seven or eight, and to advertise of a homogenized, it took the whole team around the park a whole day just to find a leaf, that leaf, only that. " There was then an 'other innovation, the slow motion, the suggestion from atmosphere while the real "Carousel" is the one skit, which comes directly from the variety. The skit on the one hand, and the other boxes, because the testimonials they cost even more. Another feature was the variety of carousel area: There were so many production houses, scattered throughout Italy, this is interesting, because it is no longer the case. Now the advertising you make or Rome or Milan. Then there were actually Florentine reality Modena, Bergamo reality, things were also very familiar. Slowly we come to these slow-motion, these soft-focus, all of which have made the offers all the same, all respectable, all too politically correct, but still there was this speech that was. And then gradually shrank over time, have increased inventory and found it more convenient, though by my crazy, repeat the same spot fifteen times a day for two or three years. While "Carousel" was to be always different, so creativity was really wild, because Sacis to rule was that each episode of "Carousel" was to be different. were a set of rules, even a little 'crazy, a little' out of fashion ", to ensure that" Carousel "has had this success, and has had over the years, this echo, because now I am past fifty years, yet Italians still remember him and love him. Now when you see the same advertisement for eight months, if not for two years, one thing becomes just invasive and annoying. Then it was always different: you know what was the final gag, what was the slogan or jingle, but the rest changed, this was very funny. "
Now advertising creates noise.
"Advertising controls the television, in the sense that if a program is not as beautiful port in the early evening that tot audience, is delete the program and advertising, then it was the exact opposite Advertising was placed in a particular spot, in every "Carousel" there were just four episodes then are now five, could not be two of the same product advertising, and companies were queuing. It was a way around the world than today. But now television is alive thanks to advertising. We make plans to trial pack of advertising where There are both spots in the middle, but also teleshopping, telepromotions. Now it is a terrible thing. By now everyone has a moment of horror when he started advertising, because they invented this torture of increasing the volume. Carousel was what to expect from young and old because it was fun. Meanwhile, say the television was then a television very educational, very decent, a little 'boring. The fun was on Saturday evening with programs like "Royal Flush" and "Canzonissima", but otherwise things were serious. While advertising was closed in ten minutes of madness, everyone has been waiting, was a program that looked at all. When I go to make the book almost always there are people in the forties, fifties and sixties, which are also those who lived "Carousel." Then sometimes, like mushrooms, sprout boys are almost always people who study communication, advertising. Instead, in Pavia, at the end of the conference, came a very young boy, must have been seventeen years old and I said "Madam, I wanted to say thank you!" Among the various things that I did see, I did see an episode of "Lancelot" by Biassoni, very nice and very modern as stroke. He told me: "It 's all my life I hear my parents say when they sit at the table: "How come we are not eight?" "Why missing Lancelot," and he did not understand why this thing saying, "Now I know why. Thank you. "So it is a phenomenon that has been planted in the brains of people. And this poor fellow did not understand having seventeen years, and he was repeating the things of "Carousel," which he had never seen.
Paul's bell in a 1977 interview said "... then inevitably are passed to the advertising" for creative weighed as being "limited" in making the characters and stories for the publication by we know that the animated feature films have not been widely happened and what has influenced the work of creative advertising grant?
"But, what I noticed, I think it is a matter of age, still alive Gavioli is a man of exemplary calm, happy but also come to eighty years, that age, I suppose, you bring a certain wisdom. interview you've seen Paul Campani he was almost disappointed, he wanted to make feature films, even though there was an economic outlet, as they had shown the poor Pagot Gavioli and when we had tried. The only, I think, has had some financial rewards from his animated feature film, it was Bruno Bozzetto. And then you consider that those years there, sixties and seventies were the years of protest, dell'anticonsumismo. Advertising then laugh about the conditioning aspect, but seeing it now because there is no limit to the worst ever. But then, advertising was seen as a sell to a consumer society, which was viewed very badly. Then that these artists have done so brilliantly, creatively, have created the characters of success and impact almost sentimental, it was something that could not percepire.E then is a bit 'in the nature of creative, well I'll put myself, when I can do it, you're never happy with what you did, you always seem to have no never done enough or have had limits on your speech, we often have them. Artists often have a buyer for a living. There to calculate this as well: it was a shame po'anche do advertising in the years of dispute. Next came the pride to do the advertising to the eighties and nineties, where they began to do more bad publicity. But I think Paul Campani was a sad man of character, as often happens to comedians and intelligent people. He and Max Massimino Garnier made cartoon self, that I have ever seen, I read the scripts in this beautiful catalog made for the exhibition. They were cartoons of the complaint, very smart and timely, but if you had to self-produce. were years of strong social pressure and awareness, so maybe they felt guilty, instead of being an artist I'm selling advertising. Giulio Crawley wrote the book very interesting in his memoirs "The game of the new world." Crawley was a very experimental animation is also very simple, little work compared to other production houses, but had raised some good wit: for example, has made a number of abbreviations for Rai very beautiful. He said that was a real sessantottino ", he felt the problem of having sold to capitalism, even though much worse was the fact there is now dopo.E a total indifference with respect to the analysis of what makes one for himself and to society. So were other times of conscience, maybe even too much. There is a piece of the book tells of tracks where he lost by an analysis of the work that they were sincerissima of advertisers and those who had imposed the needs to people. He immediately lost the big contracts. And then there was a strong condemnation by the Sacis that has influenced, for better or for worse. If you think as has happened in American cinema at the time of the "Hays Code": often the constraints of censorship and rules, to work as a creative challenge and give even the best, in my opinion, to circumvent rules, the complaints. Now that television is all the freedom possible, in advertising, we have a truly ridiculous statement. Then you always have to calculate the specificity of the period. I have also tried to represent it even when I chose four of the cartoons on dvd carousel, see also represents the social time, ie the fifties, and respectability, the economic boom, then begins to get the '68 with the iconoclastic, everything is properly transposed the inventiveness of the carousel. My dream would be, in part to continue this work of recovery of such poor carousels scattered throughout Italy and abandoned to their fate of fragile film, make a sociological history, because there is reflected the social history of Italy during those years "
I wanted to know if you know, the Americans have imposed on us in the forms and rhythms of advertising, as it had distributed their advertising, it was more free from censorship, as was organized?
"The American advertising? They are not as iron, but I remember that even an advertisement for Tex Avery, a genius in the grand final TV chopper, if I remember correctly, was criticized for an advertisement for "Kalo Dog" dog food. I believe that they too had their rules, if you think it was the years Fifties and Sixties, McCarthyism and other fine amenities. "
How modern art became part of the carousel? "Well in many ways. First Emmer was that besides being a good film director, and has always been an expert and art lover, had this series of "Blacksmith" which summarized the greatest contemporary painters who painted on the glass. Then there was the case of Pino Pascali, who was a great, unfortunately he died very soon. There is a thesis about him made by his daughter Sandra Lodolo, who was an animator, another delightful person, and did carousels with Pino Pascali. Pino Pascali was one of the founders of the so-called "arte povera", was unfortunately killed in a motorcycle that was really young. He did some beautiful work, beautiful sculptures, as well as experimental little film was a very much alive and then for a living and put money in his pocket was also "Carousel", and made it really beautiful! One, you've surely seen, because it is the one with the bullfighter of the 'Algida "," Salvador El Matador "I put the DVD of the book. Pino Pascali has also done a series called "My grandfather said" for the Lazzaroni, where his grandfather built fairytale characters for her nephew with all the kitchen utensils: a grater, a ball, two clips and made all these characters that correspond to the very style of his art. Then Pascali has some beautiful scenery, for example, "The library of Studio One." O Fusako Yusaki and clay harvester for Fernet Branca .... I consider art as too much "Papalla, Armando Testa, who also introduced the body art in the carousel with the series of" train-human "for Pavesi. O Bruno Munari Olivetti.Ormai for the boundary between art and communication is very unstable. It was also noticed in America so they had done a retrospective of the carousel "MOMA", already Then in 1971, and even then he had been granted the license of art. There came a bit 'all. I also remember, for example, various techniques, including Misseri, even though he considers himself as a craftsman. All this mixture of animation and live action, much experimentation, also tracks, in many ways. In short, the pioneers of video art " Apart from the classical animation, there were other ways of advertising for television, there were several techniques that were used?
say that the animation techniques contained in itself one thousand, the other was shooting from the truth. Animation techniques there have been many, were very often dictated by lack of time and problems of delivery and budget. As usual the difficulties you are leading, for example, many advertisements of tracks were made quickly, but with the play of light, things were really new, but then so new that we have come to the cinema years later. However, a huge territory of experimentation: everything was done as to narrowness of time, lack of budget, we earned, but were not now have the advertising budget. So going for the independent film, little money and a lot of creativity. I think one of the wildest was Misseri which is still active and continued his activities with their children and, I think a lot of fun. The creative were also very cooperative, even if you tell a more optimistic, but I think that all these leaders believe they were really proud of this animation to grow Italian, conscious of doing a great job, because then they all started with wanting to make films , all in love with Disney, and when they all went to Cannes we were all together, we commented to each other, they gave advice. So it was just a good time! advertising has become repetitive when you are lost, as well as fees for production companies, including all the research that was fatta.I brothers Gavioli originally made for cinema advertising, full color, and beautiful things. The Gavioli in the book "Box surprise" you talk about their adventure with the knowledge to do something new, something very Italian, new to them, and I think with all these beautiful heads have made a fine contribution. It amused, even when they get to mess chemically developing the film, then often find things in a totally random, graphically speaking. They also invented equipment for the film industry.
carousel is then created to provide space for advertising, and animation were all a bit 'skeptical even for someone like the Pagot, the animation was made that year. How was it possible?
"They were skeptical because it was an immense task, if you think that then it is like now and in the animation was not an economic, it was a bit 'a battle against the windmills. In an interview with Paul Campani that I put in the book talks about his first job, "the donkey and the Skin of a Lion", which went very badly, but if you look very well done. A little 'was not in our culture, then we are "heterophile" more than ever that everything is okay from the outside, and instead of us it is difficult break. However you do realize that animation was something that did not have a match, was an immense task, and these industries were, and then had to sell. The cinema is an industry and television as well, it has become even more. Compared to what I said before, between Sixty-eight years and the Seventies, creative people had a certain shame, I think now it could all turn back and should thank God that the advertisement was the only thing that allowed him financially to develop, and even creatively. Today there is hardly any animation Italian, we really little. "
Apart from the company head. Lately posted advertisements that are similar to old episodes of "Carmencita and Caballero" of "Carousel."
Once all these surveys were not for anything, let alone market studies. Marco Testa himself told me that in the eighties, and then when it was already finished, "Carousel," they did a search on the characters for children. These children, when asked, remembered "Carmencita and Caballero," people who had crossed the border of their disappearance, they had reached a kind of immortality, post carousel. We do not know how, but remained in the imagination of a sea of \u200b\u200bchildren who had never seen. A sort of mystery. Indeed Carmencita have withdrawn out, inter alia, have withdrawn out of Carmencita and Caballero, a feminist achievement. As with other legacy carousel just think the campaign "Infostrada" With Fiorello and Buongiorno. There was a sketch where Mike said: "Higher and higher!", That he quoted himself thirty years earlier, in a carousel of grappa. is the 'mystery carousel is so left in the Italian consciousness that now returning to its advertising formula.
In your book you also mentioned the Littizzetto?
Yes there was, now it's already changed, but there was a time when a campaign Littizzetto was another episode that was pure mention of "Carousel." And she is still a carousel figure more than by advertising today. A normal body, by a person of the family, but familiare.Ed spirit is something reassuring and enjoyable. What I am now slowly returning to "Carousel" in advertising today is represented by a little 'in joke, a bit' more than irony. Because we were after the end of "Carousel" fifteen years of advertising "mood", or where they were all vaguely threatening, this "look black", it faces angry, threatening. In reality, the bonhomie is a formula that works. This glossy world of Bononi Bononi and gym, is not the face of the Italians. There was a progressive removal from the model very familiar, home. Now he is returning to this type of advertising, obviously you do the math and you are returned to normal with stuttering Laurenti, the Littizzetto, I find them much better! Although I do not go crazy because every episode I will recur at least fifteen times a day, but I give less annoyance advertising the nineties, with the splendor of the precious unnecessary absurd, to say the least irritating of the models. Zero ideas and images carefully, master of light, super film, and then very often you do not even remember the product for which it was made whole 'I'm blockbuster. It seems to me that a minimum this grandeur is disappearing, and since advertisers have no idea back in "Carousel."
Have you published your book in a few figures of the actors who appeared in TV commercials with the cachet very high, are She was astonished at that time were a lot of money.
"I I picked up the pieces, but much more information you may find the library in excellent, that of Sipra in Turin, which is a whole library devoted to advertising. There you will find the data much more precise, I just put the oer at least give an idea, these actors were the stars. Rita Pavone was the diva of our time and advertising was already a good lap money. In reality, not by chance that we are all thrown to make "Carousel", the movie people who had already a profession where you made good money, and Italian cinema was already in crisis because it had ended the golden age of neorealism. For cinema, then pooped had invented the so-called "musicals" , Which were of tremendous film, inter alia, with the type cantnti Rita Pavone, Gianni Morandi. I myself went to see the movies when I was a child my idols of the song. That "Carousel" was a good business, and in fact we have thrown all, all the actors. The only one who has not done is Mastroianni, was a simple man and must have been a nice person. short of money it turned quite a few. "
With rising cachet of the actors has given way to a cartoon character that had a huge success.
"Yes, growing cachet but also because when he started "Carousel" neither the buyer or the head of industry, nor the officials Rai, had still in mind, the persuasive power of television. But after two months that transmitted the carousels they realized that any product on television, sales increased tenfold, sometimes a hundredfold. So immediately there was a terrible war and a race to get to have a space in the carousel, then the testimonials began to say: "I'll make money, then pay me more." Then they began to say: we must break away from the testimonial and thus was born the beloved cartoon. Initially The cartoons were created specifically for children, was the public to allow children to see "Carousel." Advertisers have realized that if you grab the attention of the child, the whole day after breaking the boxes to the mother until they buy the product. So at some point not fire too: come to the mother through the bambino.Quindi songs, Stuffed animals, character on, and from there began the attack on the children.The 'attack on the family, through the Trojan Horse of children. "
Then the advertisement was created to get the whole family and the cartoon for children?
"Well, no beginning. If you look at the first carousels were really dedicated to that great: there was Mike Bongiorno had a woman judge, who was Canestrini taught to drive, because then began selling the first cars to the Italians. So the first carousels were dedicated to the great, then slowly realized that "Carousel" was a show that looked at the whole family or while the mother was the cookware, the father watch the news, then everyone in front of the TV to see these skits and happy that they could see the kids, and then later to bed. Pagot Tony explains it well when he says "We realized that to get to the portfolios of the mothers had to talk to the children, but also Garnier says this technique. Until 1966, 1968, all the carousels were aimed mainly at children. He was also a home help, for which the mother while "spignatta" puts the child in front of the television, so finished preparing dinner, the baby is good does not break his head with his brother and so on., It was a home service. "
songs and jingles were used to provide support to these ads?
"Sure, jingles, slogans, and songs were used a lot. There are, however, came after it was all experimental, when advertisers began using the American technique. For us it was all very homely. Even Peserico, who was a producer, were told that the carousel then ran home to see how the parents react, then later began to give visibility to the phrase, slogan, which eventually came in the speeches of the Italians. Then all went on a rampage because when someone found a trick was used by all. "
I did smile given items to the characters, some of them were expressed at rates typically regional, with other phonemes such as the line of Cavandoli. Did you know?
"No, unfortunately no, I'm sorry not to have known a lot, because then I would have liked to know them all by their work really shines through an intelligence, a considerable sympathy. I remember, about the voices, the unreachable Bonomi line and that gave voice to what remains one of the characters that I like very much. Since a child I stayed loyal to the characters more negative, wrathful, not too sugary ones. I liked those Campani "Toto and Tata" arguing that "or" pride and nobility "for the same reason. Bonomi I think it was wonderful and I think that without his voice would have been much less fun. Then amused It is these characters, for example in the "soup Lombardi" where there was the Venetian, the Sicilian, was a clever way to catch all of Italy because there was a policeman who spoke in Sicilian, the caveman who spoke Venetian, and was also a way to unite all of Italy. They had so many clever ideas, but always funny, always entertaining. Another clever publicity to me was that he did Luciano Emmer "The insatiable," a family of carognoni, just as unpleasant. It 's really a good time. It was all different. Italy was a different that had no cars and was riding his bicycle, he did not use deodorant because that has taught him "Carousel". Once one who interviewed me asked me: "you could remake Carousel?" do not know. But surely you could make a decent advertising more: a bit 'smarter, a little' more diverse, less and less adherent to the conditioning of the models that are not ours. A other hand was first launched with "Carousel" is the kind that had already started before dementia in variety, with Rascel who was a true genius of non-sense, what you could study the evolution of the genus is also insane, which is now scattered everywhere, which had its genesis in television "Carousel." See For example, the gag of The Brutos for the wax Gray
There have been players that have had success with Carousel and then, however, are no longer able to get rid of the character?
"It often happens to the actors, such as the poor Polish Caesar a great stage actor, has gone down in history as one that did not use grease or another is Linetti Paolo Ferrari, who said that when he went to felt the people around hissing "Dash, Dash." But they also gained a lot, although in an interview with Polish Caesar says, "I'd like to be remembered as a good actor in prose." Even Franco Cerri is a very good Italian jazz musician, but if all remember him as the man who was left to soak with detergent: "Nooo, there is not dirty!" Or even Arigliano for "Antonetto," which now has released a disc Arigliano Again, he enrgico ultra octogenarian. " As was distributed in Italy the advertising production?
"Then there were the few agencies that were interested in the distribution of posters and advertising in newspapers, did not know anything about television, and it also tells the well head, which was already as affermatissimo advertising. Since he did not know anything or film or television, it had very ingenious, and has endeavored very well. He was brilliant and had good staff, then he could also be surrounded by capable people. So the agencies were a bit 'left to themselves, many of these studios have been born a bit' so it was all very semplice.Dopo came the agencies that took the left only because otherwise professionalize the management of the tail thirty seconds, and they also wanted the rest of two minutes, they wanted to get my hands on the whole cake. "
More or less in that year?
"Towards the beginning of the seventies. For the first ten years have made things a little 'to the "amateurs." But then they began to see that American agencies were billions, and from there began the war between production companies and agencies: they served in the war or were merged, there were various dynamics. So on the one hand there were the companies that chose the large agencies, while others continued to do the work at home, because he had always gone so well. "
An example may have been Osvaldo Cavandoli?
"Osvaldo Cavandoli had the great invention of the "line", so much so that it was a character that went beyond the Lagostina, but it is also true that there was behind Mr. Lagostina who was a great connoisseur of art, and has identified the 'artistic essence of Cavandoli. industries initially were familiar, where everything was at the head of the "cumm" and industries were gradually becoming absorbed large multinazionali.E 'the history of our industry that has been lost, almost none of them is Italian have been absorbed and others have been closed. While then there was Mr. Bialetti who liked to be portrayed as a man with a mustache, or Mr. Barilla, that since he was a friend of Dario For, when Dario For was chased from Rai, took it and put it on video with "Carousel." They were people, were the Italians, they were real people, was not a board of directors, and then the relationship was very direct. Peserico said when they went to talk to the developer and Marquis specializes in making people laugh the client, without going to try the super consultant, super pro, a series of unnecessary work for me, but now making a lot. We were a little Italy, we were a peasant of Italy that were urbanized. Marco Pagot in an interview said: "Americans came to us to learn how to advertise " " We are able to imitate the Americans, we are all leveled in imitation of the Americans, while they have a sense of charm to Europe, studying advertising as we did in Europe. The "Carousel" was a foolish thing for them, two minutes for something that never mentions the product, does not see why the product was something inconceivable. But then he came to study this form of "Carousel," but it was impossible for them because they had the space of fifteen seconds dear, but we had Rai who had not yet realized, that gave the space of two minutes and means of "Carousel." But they were very curious about this strange phenomenon, he told me that in Italy Emmer.Penso the advertising industry was just born, and I think that Americans are surprised because they did everything with so little budget, they had budgets of more than serious, they wanted to know why with so little money was made an ad that worked so well, then they realized that we had only one. I think it went well. I know is that Gavioli Pagot had dealings with the American cartoonist, and have had several compliments, and even if the companies were smaller than those of Americans, there was a lot of creativity, a lot of experimentation, but I think the Americans time were already trapped in precise patterns. We Italians always give in improvisation, then we want to do the science, but they are always inpuntuali messy, but we love to imitate the Americans. "
The advertising industry what they did after the end of" Carousel "?
"Some industries are recycled, but they were always spaces of" Tic Tac "," Break ", shorter and shorter, and then slowly closed. Then they had this great invention of repeating the same ad for months, so the amount of work has gradually narrowing, although I think these large advertising companies, earnings have made it. But when they had to close for them must have been a pain, especially really small, especially as Modena, set up an industry and then send home the people after years of work is not nice. So how did the fashion of repetitiveness were just off. "
Those who remained continued to produce in some way also to other areas?
"Yes, we are also very Gavioli arranged, making titles for the film, special effects, pieces of animation in film and for a while 'they pulled ahead. The only Perhaps that is separated from this whole production, in part, is sketch? Bozzetto yes, you could also do feature films that have had good success, such as "West and Soda". The feature that has created are beautiful, witty, then I do not know how he did it because the studio was smaller. I think he had a huge power of stubbornness. The Pagot were saved because a number of their characters have become children's characters, like Calimero, and then books, merchandising, has also released a series of Japanese Calimero. The Pagot still exists, it is saved. And I think that still produce children's books and cartoons. The Range film has stood up to a certain point then closed. The study does not exist anymore, there Gino Gavioli and his magic pencil, makes books, comics. Misseri continued working alone abroad. Perhaps there was neither courage nor desire to support this reality. "
The possibilities offered by new technologies have opened their borders to more diversified and intense experimentation. In the late seventies, the world of cartoon meets computer graphics. It arises from the very beginning not only as a new means of expression, an increase of stimulation and excitement and creativity, but redefines the work of the same entertainers "radicalizing the question of how and to what still needs to count the human contribution in the realization of a cartoon" (1.). Meanwhile, at international festivals, the question of the use of computer graphics animation to do had some discussions on: there were those who showed concern to the new one thousand half believing that technology from the "potential intrusive and disrespectful he was able over time to bring alienation of ideas in parallel there was those who believed that computer graphics was interesting precisely because it was more flexible and immediate than the traditional one. Probably all of these concerns were also motivated by uncertainty about the future and how to adapt to new technologies. Today in the digital age is well known that the animation is done completely to your computer, be it film or television. Even the animation advertising today uses dell''uso computerizzta graphics. The animation has reached a certain maturity, making full use of digital techniques (2D and 3D) and, when compared to 'classical animation, which prevail in the care and richness of detail and pace more sedate and reflective, the animation can now only boast a faster pace, in a sense that interprets our present. In our present language of advertising is appropriate, such as animation, new models of communication: Internet allows the advertising and communications to travel through a planetary connection. Advertising today is operating in a virtual environment and is therefore not visible, in reality conditioned by the flow of communication media and networks, trapping and material published in the immateriality of hyperspace animation.
"Toy Story" the first fully 3D animated film produced by Pixar in 1995
time is not very convincing even if the technique attracted no little curiosity.
recently in several commercials, you can recognize some of their characteristics in the form of "Carousel" may be an example of the formula where the protagonists are increasingly being used in new situations (spot of "Lavazza" with Bonolis and Laurenti in paradise ) or modern interpretation of the old commercials ("Cynar: against the strain of modern life", or "Carmencita and Caballero).
As regards advertising graphic animated feel good that the "Ceres", where in a box made with 3D graphics, the protagonist ("Ceres Chen") runs into some unfortunate incidents. The realization of this spot, for the liking of the character and sequencing of situations are always different, refers to the formula of "Carousel," though what we saw on television is only part of the work done dall'animation study Ligurian Article Five. "
Some sequences of the spot produced by the studio "artFive" and some episodes are shown on the site
missing aspects of television advertising production today are essentially the 'unpredictability and knowing how to impress the audience: "Carousel" worked for the uniqueness and originality of its formulas, always different, and the sympathy of the people involved in different situations every day, never the same. In my opinion the weak point of the current TV spot lies in the repetition and then the predictability that ultimately makes the sight tediante. difficult to imagine a future scenario of the Italian animated television advertising, especially in an era when new technologies are outdated and chase each other all the time. No going back, this is clear, but we will be able to return to the production of the most engaging? We will have occasion to sit in front of the TV and get involved a bit 'of that magic for the lucky viewers of "Carousel" was part of everyday life?
For some twenty years, from 1954 until 1976, year of arrival of color, in Italy we have seen in strictly black and white programs. Besides the increase in broadcasting hours and maybe a more widespread admissibility, there were no major changes other than a very important structural change: in 1962 rose a second TV channel. Until 1976 then there was another change. With the official arrival of color television in Italy changed many things. Between the end of the seventies and eighties in all consumption becomes the representation of a different social reality, in which the collector is free to use language, style and, inevitably becomes more pervasive. From the point Economically, the advertising becomes the mechanism of support for the economy, able to move the whole system: the more crowded the system and have to sell more spaces and more spaces need to sell more short and repetitive will be communicated.
In this sense, change the very way of conceiving the ad: to be able to offset the disatrazione will try to replace the long lead times, belonged to the old carousel, with a time of 60 ", 30" and then finally a 15 "or sometimes even 7", so that consumer will be inattentive captured by the pervasiveness of advertising messages. Advertising the theater to the rhythm of the Tarantella so therefore leave room for the Telecommunication, and the "spot", focusing the discussion on "break", increasingly repetitive and short. Another peculiarity concerns the advertising formula: "Carousel" was inserted and scanned by the organization of palinsensi and programs, on the contrary the "spot" will trap and marked the time of planning and organization of schedules. Advertising by a marginal economy really becomes essential, even for state television. their audiance is born televisiova when it comes to advertising the advertiser. Already since the early seventies were born the first commercial networks but only distributed locally. Since 1980, Channel 5 was founded by entrepreneur Silvio Berlusconi, and this was the first private television network considered a valid alternative to the only distribution of advertising to the public network, Rai.
In a short time in advertising investment by Italian companies increased dramatically exploded in 1983 where for the first time the advertising was beaten Sipra Pubblitalia of the licensee's private Canale 5. Before the arrival of color television in Italy (1976) was the monopoly of television production, it was therefore impossible to buy programs in color from the larger foreign suppliers. Immediately after 1976 the major supplier of programs (American, British and South American) who had several years to recoup the costs of production at home, they sold low-cost programs in Europe, and Italy also found herself attending the markets international. In this economic whirlwind publicity he found himself at the center of big changes. "Carousel" had lived its period of success: the Italians had been able to access between a sketch and the other in the world of consumption, and artists and authors who had worked behind the scenes at the theater, had been able to grow professionally. The Eighties they leave behind "Carousel," half of advertising is now considered obsolete, and in its place the advertisement is enclosed in "Area F", which tightened the rules with shorter Sipra give way to the emergence of marketing . times were officially reduced from 60 "initials, the commercials were to be summarized in standardized time of 30", 15 "and 7". Introducing "the Auditel" (data collection of TV viewing), the means by which not only can you check the index of rating but knowing precisely the success or failure of programming. Advertising has changed radically in style, both in the design and production of the posts are called foreign directors and directors of photography, sopprattutto from 'America and England', which soon will replace the good nature and affection of all reported ' Italian, with new standards and aesthetics, and the use and consumption, will be increasingly based on the sophistication of the product and its image.
Nescafe Coffee Hag 1967 and 1957. Advertisements compared promote the same type of product. In the case of the work of Alexandre Nescafe Alexeieff creates an interesting fusion between art and advertising with an advertisement quite original.
What happens to our souls? the second half of the seventies, Rai decided to adapt and play on imported products, to meet competition from private broadcasters. Italian television so in a few years became the largest importer of foreign fiction, and the arrival of Japanese cartoons in our country, decreed the end of an animation production national. Few spaces left in our creative. The animation in this new Italian television undergoes a sharp setback at the end of the seventies there are, in the annual schedule, at least 4000 hours of entertainment of which 97% of Japanese and Korean co-production. Not only is the television advertising does not convey more animated, but the national product is massively replaced by the acquisition of imported products: sopprattutto are Japanese animated series that, by setting up strongly in the schedules Italians tend to be better with the infinite interplanetary wars and martial arts. An example is the emergence in May the 1978 series "Atlas Ufo Robot".
Japanese anime series by Go Nagai, 1975 broadcast on RAI in Italy since 1978, as two private networks.
The emergence of color television also began to slowly replace the shades of black and white in Italian homes. This important step will be felt primarily as a radical change of languages, national advertising and animation, will be destined to disappear, unfortunately without being able to exploit the potential of color. The lack of work in the area will appoint the closure of many studies and others that must reinvent itself and keep pace with the times to avoid being cut off. The cinema advertising, which previously had been able to maintain its own space, although less than television, it stops being produced and broadcast: television, host uncontested, it becomes the only way (along with newspapers, magazines and posters) to mid-nineties, which carries advertising. The animation in the late seventies to mid nineties is little spread, much less the development of animation production and advertising, the creative work of our focuses in some television themes: one is an example created by Bruno Bozzetto for transmission "Portobello" of 1977 and 1987. Even without advertising the cartoon continues to be produced and self prordotto, and range from film by Bruno Bozzetto, but the real work moves in the Eighties to the production of jingles, documentaries and industrial films and institutional always rigorosomante vero.A Milan and from the animation department when Cinelandia (Gamma Film SpA, which had opened and expanded its headquarters in 1964 in Cologno Monzese), closed in 1979 and was sold to television Silvio Berlusconi.Nello same year Gavioli offers some of the most talented designers to join a cooperative in the "ERREDI 70" by engaging in production of the cartoon, the movie advertising, and production of documentaries. Bruno Bozzetto keeps on producing advertising campaigns fully animated: in 1978, arriving on television the two characters "Ciocorì and whiteness for Mott, the" Penguins Saila "in the same year and in 1988 to life with remarkable men of Kellogg's.
"Ciocorì and whiteness" by Bruno Bozzetto
important were the contributions of the RDA 70, which in recent years created the spot of the tarts " mill White "(drawings by the illustrator Grace Nidasio) and Alisa Candy's campaign based on the designs of Free Gozzini, where the clothes they dance is accompanied by the slogan" Candy knows how to do it. "
"Candy Alisa" designs Free Gozzini
Advertising was certainly a way for our designers to work with their passion and, meanwhile, have the opportunity to grow economically and artsisticamente.
Times have changed. Compared to advertising than twenty years, where the rigor of the questions of ethics and morality and had developed advertising genius like that of "Falqui. Just the word" advertising years Ottantadiventa less "prohibitive" Riccardo Denti displays use in animated form the silhouette of an African American to advertise liquorice "Taboo" (1982), associating the color of candy color of the latter waving two big hands to music white.
Advertising Taboo
In times not far distant, this type of advertising was immediately criticized by Sipra because it was deemed offensive and discriminatory.
born in 1982 "One Italy" and "Retequattro," Ruskin and the publisher Mondadori Group subsequently bought by Silvio Berlusconi in two years. The enormous development of the Italian television system in the form changed with the arrival of commercial channels and, this time determined the increased investment in advertising. Disclosure of the eighties and then slowly reached an international level of maturity of communication are good creativity and effectiveness: in our country were successful series of commercials, where the use of a product or a famous brand itself as status social symbol (they are examples only Levi's, Absolut Vodka, Coca Cola, Nike, Chanel). It therefore comes to the nineties, where the creation of more commercial TV (such as Telemontecarlo and Videomisic bought by Vittorio Cecchi Gori in 1992) brings the increase and the repetitiveness of advertising: on the one hand, the agencies raise the level of communication effectiveness of the products advertised on the other side of the screen advertising is a demanding consumer and unfaithful ready to "zapping" from one network to another. Advertising on television is so constantly present, moving not only from animation production from the truth, but the messages, conforming to the model international, are faster, innovative (even technologically speaking) and more sophisticated, suitable for the consumer era of new technologies.
Kodak Advertisement, 1987
Notes:
1. "A surprise box. The range of films Roberto Gavioli and audiovisual communication in Italy from carousel today. Presentation by Sergio Zavoli" Editoriale Jaca Book Spa, Milan, 1998. 2. "The factory of the animation. Bruno Bozzetto in the Italian culture, edited of Giannalberto Bendazzi and Raffaele De Berti, Editrice "Beaver" Srl, Milan, 2003.
Carousel "was much more than simple advertising, has accopagnato the peninsula to" hand "in the mechanisms of consumerism, and this was transposition of the spectacular change in Italian society from a simple rural society to industrial society in all respects. In August 1976, a brief statement announcing the closure of the Rai: "We inform you that, from the beginning of 1977, the Categories of TV advertising, "Carousel" and "Intermezzo" (airing on the network, respectively, 1 and 2) are lifted. They will be replaced by another item common to both television advertising. "(1)" The January 1, 1977 the "Year of Superspettacolo with Raffaella Carra." Carrie touches healthy forever, "Carousel" with a glass of brandy famous, rather than of champagne, became part of everyday life of Italians slogan "Stock Brandy, brandy, which creates the atmosphere." " Here we are in 1977: a closed loop. Twenty years of Caroselli Stock. And it is in the name of Stocks thank all those who made them and you who follow us for many other years. Merry 1977!. "(2.) So, forever," Carousel "ending his theater. Were now distant time when the evening meeting held Italians glued to the TV, waiting, anticipating the moment of silence and the symbol entr'actes. Carousel dies after twenty long years. The times were changed now, as Italy had changed and it's hard to blame a cause rather than to another. Carousel was born in the period of economic boom and social "and had participated in social evolution taught Italians to consumers and businesses to communicate as he explains Edmondo Berselli, when supply and demand coincided perfectly. The causes of the end of "Carousel" are different, in part traceable to the Italian political and social transformation that was witnessing the end of the seventies, and then within our country, and anyway it was heading towards an internalization and standardiddazione economic and cultural pace with other countries. One last username "Caroselli" that identify well the average Italian in the late seventies and advertising of "insatiable", where not only the Italian citizen no longer content with the sole product, but is informed competent, knows the products and has become demanding in his choice within an increasingly further expansion. So the Italian consumer is no longer a shy and unsure of itself that needs to be educated and guided to choose the best. With the consumer needs change, products and changed the way we do, and then publicly pubblictà tv: more commercial, less education, to promote TV shows and full of entertainment, as defined by Piero Dorfles (3.) "The TV of the seventies is a place where every day is a holiday. " Advertise through the "carousel" what had become insufficient and limited, and primarily the costs of production, including also the cachet that had soared to the stars, and secondly the time they were attacked. To publicly pubblictà was decided by the big American agencies especially that 30 "was needed to advertise a product. Let's say you just around the corner of the eighties" Carousel ", the first channel, and" Intermezzo "on the second channel, and advances represented the only areas of advertising, c 'was in need of change. A month after the end of Carousel, in February 1977, Rai began to broadcast in color, which brought a renewal not only technological, but cultural sopprattutto: Stop with the carousel in black and white , now considered antiquated that had accompanied the television from its inception with a serious tone and a social climate and resigned, the new television established itself with new expressive possibilities. These reflect a more realistic and vivid reality, which together with psychological meaning, prosperity and abundance, embodying the world of consumption. A first responsible for killing "Carousel" was the Italian Association of Advertising: had developed a growing demand from companies for failure to support the high production costs, considered it their right to have access to advertising television. The end of "Carousel" has in fact allowed access to television advertising also smaller companies, this long overdue addition to dagl'inserzionisti also by advertisers. Another reason, of not only the internal character Rai but also to the policy that is going to draw in Italy, was clearly expressed at the opportunity like a bifurcation of public broadcasting, which changed the way of approach and watch television. Television was founded by the government with the role of pedagogy, but at a distance of twenty years, the city had learned to eat, but sopprattutto to choose. That's why it was necessary also a distortion of the schedules. The first channel could no longer be the only reference channel. Social life had changed, and the people who stay up late, wanted to choose other forms of entertainment. It was therefore decided that the broadcasts began at 12.30: in both channels were added new programming time zones who are experiencing significant plays from the start as late at night, as the broadcast ended at midnight, but the range of programming afternoon and lunchtime. Another critical step that brought a renewal in the Italian television was the liberalization of private broadcasters. In 1976 the Constitutional Court decreed the liberalization of private broadcasters in the local area: the Italian Parliament launched the rules for authorizing the first segment of the television broadcasts not only RAI state. From initial idea to sell to a television audience measured in quality dagl'indici of choice, the idea of \u200b\u200bselling a quantity of television, the number of listeners or sold to advertisers. So the television changes from a state monopoly to a market condition in which in exchange for a successful transmission of the viewers receive a massive dose of publicity, higher than that proposed in just ten minutes. short, if "Carousel" before ending had been sharply criticized by intellectuals and opinion leaders believed that a subtle tool of consumerism, ironically, with its disappearance in the eighties will see the exponential growth of television advertising.
Notes:
1. "A surprise box. The range of films Roberto Gavioli and audiovisual communication in Italy from carousel today. Presentation by Sergio Zavoli ', p. 196, Editoriale Jaca Book Spa, Milan, 1998. 2. "Carousel" by Piero Dorfles pag.105, Editrice "Il Mulino, Bologna, 1998. 3. "Carousel" by Piero Dorfles pag.111, Editrice "Il Mulino, Bologna, 1998.
4.0 "The arrival of the" mood "commercial and the end of Carousel
With the start of the economic boom, and then increase with the growth of industrial plants, to the Italians was facilitated by the availability of essential consumer goods and goods especially those known as "durable". Merchandise trade and relations with other countries starnieri became more and more widespread: first of all the model of production and consumption in the U.S. that we, like all other countries, we standardize.
Carousel born in the late fifties as an advertising space that fits between the experimental television (the first television broadcasts dating back to 1954) and promoted by the educational government. The very first television born as social educator: is embraced by the Italians as an enjoyable pastime and newscasts, alternate programs of cultural and scientific documentaries. The theater comedy is transmitted every evening on the first channel state television, and was created to meet the growing demands of advertisers who, through advertising the product, at the service of the new means a new form of advertising: they will be just those ten minutes, granted by Sipra, an excellent start to see forever changed the habits of the Italians. on Italian television advertising breaks through carousel, sold as entertainment, looting kinds of theatrical success taken directly from the models, including Italy, which lies more in starting a climate of modesty, reluctant to certain news and developments, began to fluctuate in this vortex of consumerism taking over the American model (which was ill-considered). Among other things, all kinds proposed by our local advertising, which Italy could do school and on which the success was gatrantito were: the Italian comedy, the magazine el'avanspettacolo. to advertise the products are known players in the world of cinema and theater propia providing the image and recognition products. In parallel to the actors in the flesh of the bones will head to the theater of some carousel cartoon characters, an original innovation that receives immediately a great success and decide the best period of Italian animation. born in 1957 when "Carousel" there are few advertising agencies that dealt essentially advertising the "classical" (print edition, but also and especially the poster) and cinema advertising (such as Pagot film). Between 1959 and 1969 in Italy is a developed economy of television advertising and the advertising market is corroborated by giving shape to the first large agencies. Initially, however, the public was made by production companies, because agencies do not yet exist or were still very few. Worked within the creative production houses. The employment relationship was fairly straightforward: the house of production was called by the client, the client he would agree with the creative, and all he set out guidelines for the top job in which you decide together how to present a product, the stories, characters, and dialogues to be carried out in the ad campaign . Since the early seventies in Italy opened branch offices of major advertising agencies like Ted Bates U.S., the W. Thompson, the CPV, the Mark Erickson, who stole the scene with the Italian agencies (or at least smaller ones). Advertising, in Italy as in other European countries began to become standardized and arrived in our country marketing: the market pubblictario shifted to the large agencies that had inside many professionals, with terms defined in English as a copywriter, supervisor, mediumistic and art director. These large agencies wanted to maintain a policy of more international work, and when they have a lot of money trying to keep the whole country, making people not always brilliant, perhaps made by their creative little fanciful. From the 70s onwards "Carousel" style underwent a transformation: early as 1965 the public was assaulted and was the subject of much dispute that continued until the period of revolution of '68, where intellectuals and younger generations harshly criticized the advertising and advertising itself, which is considered capable of creating false and unnecessary consumption needs, featuring a consumer society. In 1973 a deep economic crisis and oil hit industrialized countries, and if many firms had closed because of strikes and labor riots, others closed but departs for the advertising industry was in crisis. companies could no longer invest in advertising and this caused a change in the choices of business strategies and communication. Thus was born the way of an advertisement in the trade "mood" more of the atmosphere, which reflected more uniform than it was to delineate a character far from that of "Carousel", characterized by the two and a half minutes in which the skit and beaten by a bit Skech 'from Italian comedy advertising softened the tail of 30 ".
The major advertising agencies were born in America where the advertising was designed by engineers, scientists and sociologists. was imposed to us so that the time needed to communicate the advertisement was 30, and then the entire audience had come in time shorter. This involves both a reduction in the time and cost involved but above all a different way of communicating with a style very funny and rather boring. The Italian genre par excellence, the variety is going to replace the kind of atmosphere. A great artist, Marcello Marchesi , defines the entrance of the "mood" commercial and the end of "Carousel" " Then they began to bloom on the lips of the pipe copywriter, account, which were the pillars of the advertising agencies that opened the American line: only spoke English and media, storyboard, jingles, brainstorming, and budget. And makers of carousels so we lost touch a bit of the old masters' paternalistic, the industrialists who now turned the world on board the yacht, and we found ourselves in front of blocks of shares with which it is not very easy to talk. short, began the period of the hidden persuaders! The persuaders decided that the carousel was not to be funny because the fun <>, that is distracting the attention of the buyer of the product. And so what they created? Those carousels created a little bit in a water bath, so insipidini, that created the so-called atmosphere: children, horses, old ran in slow motion as if all were flying. It was not known well in which direction they went, until they were in the hands of the product could be a drink, a vibrator, a detergent, an encyclopedia. I believe that that is was the beginning of the end of "Carousel"! . "(1.)
Marcello Marchesi Rai in an interview in 1971
Notes:
1. "The best of 1957-1977 Carousel" by Guia Cross, 1977 interview with Marcello Marchesi, P.. 140, Giulio Einaudi editore spa, Torino 2008
The animation in television advertising experienced writers of all respect. First of all, in order of time, Osvaldo Cavandoli , which in 1949 began working as a leap Pagot with his brothers to the realization of the feature film "The Brothers Dynamite." After completing the shooting of the film, had to leave the study of Cavandoli Pagot, who was momentarily out of work before taking the tendency of film advertising. In 1951 he founded with his friend Osvaldo Cavandoli Umberto Gelsi, photographer, "Pupilandia" and, together with creating short films and small distribution (among the most popular "The trump cards" and "Pinocchio") with puppets animated as subjects, both short films commercials.
"There in the far west, 1955/57
Between 1965 and 1968 working with Cavandoli Marco Biassoni the realization of the character" Lancelot "for advertising Pavesini. Worked on the restoration of the character "Billy and Bull" by Nedo Zanotti . In the mid-sixties born "Mr.Linea.
Cavandoli has long worked to stylize the character and idea in an interview here as he says the idea of \u200b\u200bthe Line: "Sgomberai the table and mind from all that reminded me of the past and experience. Motivates me to find something that upset the theories of the "classic". I was not a good calligrapher, or set of characters drawn animation were not my forte! As everyone knows, the cartoon requires an average of about eight designs every twenty-four frames (= one second). I loved the action and movement and the fact of having to dwell for long on a sheet to tinker with flourishes and special to me blocked. I tightened the field of view (zommai as they say now) on the white paper and began to scribble: my hand holding the pencil was, of course, always in the field and, page after page, that little man was born from that formed a big nose one with the line that marked the foundation of his life. And the hand and pencil were always on the move! Abbinai design and hand-drawn pencil, perhaps had already been done. I did not care! The character was devoid of the most important forms of expression. We do not care! I auditioned: the wire was broken? The pencil was a knot ... The line was missing? The hand intervened and completed, adding that maybe something that has given rise to new problems for the character.
was a contradiction in that period when the television screens advertising redundancy of beautiful scenery and full of rich characters enjoyable and well designed. The test made the rounds of various large agency that fertile budget known brands. They shook their heads: "You're crazy, this stuff does not go." Finally, a customer who saw further and thought maybe more than I thought I saw and said, "OK!" The engineers Emilio Lagostina, connoisseur and collector of art, believed in this new and revolutionary (at least then!) Form of advertising. dovava My character does not speak, because the mime was his strong point. Then came, after several searches, the "voice", namely the incomprehensible phonemes Giancarlo Bonomi. A virtuoso of the vocal cords: the shrill little voice, fractious and grumpy, part of Lombardy, which has achieved considerable weight to the claim value, on the small screen and around the world, Mr.Linea. "(1)
look at some old works of Émile Cohl, the 'idea of \u200b\u200bthe line arguing with his own creator, who always meet problems and is also a loser in life is funny, clever and universal.
The first animation of Emile Cohl left debuted in August 1908 in Paris. His work is simple, line art and full of humor. In parallel Cavandoli after more than fifty years Mr.Linea reproduces the essential feature of being able to rely initially on a simple idea but universal and the sign of a strong communicative impact.
publicize the La Linea Lagostina cookware. After the closing of "Carousel" Cavandoli putting together the stories for television advertising, then remove the advertising part of the tail, will produce six films in which "Mr.Linea" (distributed in over 25 countries worldwide, except in Italy) will become an international player. From 1965 to 1976 another character, created by Guido De Maria and Augusto Righi, appears on the scene of "Carousel" as "Captain Solomon" from 'Piedmontese accent Advertise Fabbri syrups. On the screenplays of these carousels have worked as artists Bonvi and Francesco Guccini.
"Captain Solomon" by Guido De Maria and Augusto Righi, 1965
In 1958, only twenty years old, a young Bruno Bozzetto participates in Cannes with the animated short "Taptum! The history of arms," \u200b\u200bproving very popular with the critics.
"Unca Dunca" (1960) and "Buc The Buccaneer" (1968) Bruno Bozzetto
Two years later he founded in Milan Bruno Bozzetto film and realized in contemporary films, some television commercials. The first animated character created for that carousel are the "Adventures of Kuko" for the Innocents, 1960, and the following year, the Indian "Unca Dunca" for air conditioners and burners "Riello" broadcast from 1961 to 1968. Appeared in forty television episodes with music by Roger Whittaker until 1966 and later Franco Godi.
were later sent in 1963 for "Recoaro" the adventures of the trio "pilde, Poldo Mustache and Blue" "The Little Man Alpha for the 'Alfa Romeo" and the "Wizard Guglielmone" for "Perugina" always broadcast in 1964.
In 1960, Bruno Bozzetto, Mr. Rossi has starred in several short films and feature films
In 1965 comes to the movies "West and Soda", the first animated feature film after "The Rose of Bagdad" by Anton Gino Domeneghini and "The Dynamite Brothers" the brothers Pagot 1949.
then produce two more feature films: "Vip my brother superman "(1968) and" Allegro ma non troppo "(1976)
production Bozzetto short films, commercials for television and film, television and feature films was prolific abbreviations: Mr. Rossi was born in 1960 ( "An Oscar for Mr. Rossi" lasting 12 ", color); in 1965, after sixteen years since the last feature of the Italian Pagot Domeneghini and brought to the big screen the film" West and Soda "(85" , color) in collaboration with, among others, by artists such as Attilio Giovannini, Joseph Lagat and Guido Manuli . In 1968, Bozzetto produced another feature film "Vip my brother superman" and, "Carousel" will have luck characters created stessp years in ten episodes of "Knight mysterious" for the adventures of "Don Cossack" to Perugia and the adventures of "Buc the buccaneer" for washing machines Castor. addition to the characters rather than cartoon or Disney-style, remained in the hearts of generations for their features funny and nice, "Carousel" was a real training ground for artists and writers: a lot of attention was paid in those years to the graphics and style, On the modernization of the art scene, the social landscape and thus the advertising gradually changed. Important were advertisements for Pino Pascali made for this Lodolo study, those characteristics are also very Armando Testa.
Pino Pascali for Cirio uses mixed media on cardboard, 1964
"Caballero and Carmencita" and "Planet Papalla.
Armando Testa used the technique a step moving objects rather than drawing as required by the classic cartoons.
Lover of stylization invests his professional experience in numerous committees, using a language in which immediate, simple and minimalist graphic: appearing on the stage of "Carousel" the first ' man of "Digestive Antonetto. Designed to be made only on paper, the poster was later transferred to the small screen and animated, as was the custom of the theater, with the tail end.
"Lancelot" Marco Biassoni, 1965
technique of clay animation with Fusako Yusaki for Branca Menta
Between 1965 and 1966 calling on television "Caballero and Carmencita" to advertise the coffee Populist and the successful series of "Planet Papalla" produced until 1972. I have already mentioned the experience of Gamma Film for advertising Meat Montana that "Gringo" went on the air since 1966, leading to the small screen a realization innovative advertising animation produced in Italy. But in the same period there were not even the stylistic revolution of the Studio and Gardens' Japanese artist Fusako Yusaki : Home production Luciano Emmer, a great artist and writer, brought to completion the publicity of the insecticide "Raid" and other commercials such as the taste test "Zucchi" socks " Sissi ", the sign of a dynamic interplay of whites and blacks, often characterized by the integration of design and real actors, it must be to Fusako Yusaki instead of the hit series" Branca Menta "(of 1970) with the technique of" claymation "managing to incorporate a new style of modern art, with sensational games of the winning entry forms in clay art in advertising.
Notes:
1. "The best of 1957-1977 Carousel" by Guia Cross, "comes the line", pg. 128, Giulio Einaudi editore spa, Torino 2008
