{"id":1730,"date":"1954-10-10T17:07:17","date_gmt":"1954-10-10T17:07:17","guid":{"rendered":"http:\/\/qa-www.rivistapirelli.org\/selezione_antologica\/lo-spettatore-involontario\/"},"modified":"2019-05-13T13:43:27","modified_gmt":"2019-05-13T13:43:27","slug":"lo-spettatore-involontario","status":"publish","type":"selezione_antologica","link":"https:\/\/www.rivistapirelli.org\/en\/selezione_antologica\/lo-spettatore-involontario\/","title":{"rendered":"The involuntary spectator"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"featured_media":2167,"template":"","categories":[],"tags":[46],"class_list":["post-1730","selezione_antologica","type-selezione_antologica","status-publish","has-post-thumbnail","hentry","tag-society-and-lifestyle"],"acf":{"edizione":"N.5, 1954","autore":[{"ID":387,"post_author":"1","post_date":"2019-04-09 10:09:09","post_date_gmt":"2019-04-09 10:09:09","post_content":"Journalist, translator and graphic artist (1924-1973), he was an anomalous character and perhaps one of the most innovative of the Fifties, pioneer of the journalist-graphic artist or newspaper designer. Trained under Vittorini at \u201cIl Politecnico\u201d, he started as an editorial assistant, taking over from Albe Steiner in the graphic design of the journal. A dedicated journalist and translator of The First Forty-Nine Stories <\/em>by Hemingway, during his career he would renew the pagination of \u201cLa Notte\u201d and the new Enrico Mattei\u2019s newspaper \u201cIl Giorno\u201d, devising revolutionary and innovative solutions that would culminate in the graphic project of the newspaper \u201cIl Manifesto\u201d.","post_title":"Giuseppe Trevisani","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"giuseppe-trevisani","to_ping":"","pinged":"","post_modified":"2019-04-15 16:17:42","post_modified_gmt":"2019-04-15 16:17:42","post_content_filtered":"","post_parent":0,"guid":"http:\/\/internal-pcons-be-fondazione-fr-dev-elb-1449244171.eu-west-1.elb.amazonaws.com\/?post_type=autori&p=387","menu_order":0,"post_type":"autori","post_mime_type":"","comment_count":"0","filter":"raw"}],"riassunto":"","composizione_articolo":[{"acf_fc_layout":"composizione_articolo_testo","composizione_articolo_testo_testo":"

Long-form commercials are occasionally an unpleasant trap for filmgoers. Here is an interview with Nino Pagot, who maintains that animated cartoons, which allow directors more freedom, can be more enjoyable for the viewer and more suitable for advertising the product<\/strong><\/em><\/p>\n

 <\/p>\n

Each morning, Nino Pagot goes to his workshop with a secret wish: he hopes, with a futile yet whimsical and sweet hope, that the colourful little man left alone the evening before has \u201cdone something on his own\u201d. But instead, every morning, the little man, rather the character from the unfinished cartoon, is stuck on the sheet right where Pagot and his partners left him the day before. There\u2019s nothing left to do but pick up pen and brush and move forward, one drawing at a time, one twenty-fourth of a second after one twenty-fourth of a second. Days ago, Pagot\u2019s accountant inventoried the materials on hand after four years of cartoons and discovered that there are more than one hundred quintals of drawings in the warehouse. That\u2019s one hundred quintals of drawings made, one by one, by just a few patient hands, fewer than one hundred hands in all, including the humblest of hands: the hands of eighteenth-century trompe-l\u2019\u0153il<\/em> creators, and the hands of \u201ccarillon\u201d makers.<\/p>\n

\u201cThe one thing everyone knows\u201d, says Nino Pagot, not realising how he has contributed to the paradox, \u201cis how cartoons are made\u201d. And it\u2019s true because there is probably no one in 1954, six years or older, who considers cartoons to be just a miracle and who doesn\u2019t know how they work: many drawings are done and projected one after the other on the screen. \u201cHow they are made is clear. But why do we make them? This\u201d, explains Pagot, \u201cis what many people are asking themselves, and it\u2019s worth asking\u201d.<\/p>\n

Pagot tries to explain why: \u201cDrawings are like summaries, interpretations. Over the centuries, they\u2019ve always had the most immediacy in the way they communicate, even in the boldest abstracts. But time and space were frozen, immobile in the immobility of the drawing. But then again today, for us, the subject of invention for cartoonists is not a drawing of a figure, perhaps to be animated, but rather a movement; movement that, to be defined, or expressed or represented, needs the drawing, just as it needs sound and colour. With total freedom, with the depth of your imagination being your only limit…\u201d.<\/p>\n

But this isn\u2019t the explanation of why. The explanation is instead quite clear from the look on Pagot\u2019s face as he speaks. It is as if Romeo wants to explain why he loves Juliet. Pagot loves his work, he believes in it. And if this seems trite, then perhaps we need more trite people in the workforce today! Pagot began working with Zavattini, one of those from the \u201cadorable generation\u201d, which seems to have burned many poetic and enthusiastic possibilities for later generations. Everyone made a name for themselves and began their journey. They respected each other and said so. But that\u2019s another story…<\/p>\n

Pagot says: \u201cI thought up an idea for a film, it\u2019ll have this and that\u201d. And right away he explains the idea to a journalist he just met. The wheel, the story of the wheel. The vibrations affecting the car passenger through the centuries, translated into visual terms with a seismograph, outlining the different architectonic styles on the screen. \u201cHuh?\u201d he says, \u201cHuh?\u201d And immediately after, a story about houses, houses for every type of occupant, psychological construction, animated homes. And then after that, the abstract and astonishing film made to explain the way new belted tyres inflect: an artist who speaks to other engineers; it\u2019s a nice record. And then there\u2019s the story of the shy little car, just out of the factory, who meets the Bad Petrol Pump Attendant who takes her to the tavern of lost cars for a drink. \u201cOh, how I am loving this one, it\u2019s so much fun!\u201d he says.<\/p>\n

Naturally, the audience too has fun; that terrible audience that \u2013 often with good reason \u2013 shout and stomp their feet, assaulted, as it were, between one show and the next in the theatre, by an advertisement that sometimes seems designed and paid by the direct competitor of the product being promoted. Those who write remember hearing the enthusiastic cry, the cry of the unknown liberal against tyranny, rising from the dark pit, oppressed by a voice that demanded he or she \u201cdrink this, etc.\u201d and who says \u201cI will never drink that\u201d. Yet, writers have also heard animated ads being applauded. This is a better explanation than any theoretical discourse about why cartoons \u2013 which unfortunately cannot make up a programme on their own due to market conditions \u2013 are the most popular form of advertising; and why this occurs not only in Italy, but in France, for instance, or in England or America, a country where even direct advertising is done exclusively with cartoons.<\/p>\n

Today, Pagot receives offers to move to Rome from Milan, to expand his company, which is still accurately listed on the Craftsmen Register. \u201cBut I would no longer be able to personally manage every job\u201d, he says. \u201cSo why should I? To enrich myself?\u201d<\/p>\n

Continuing his train of thought, \u201cSo, when there\u2019s an idea for a new cartoon, you feel a rush, excitement, like when big things happen\u201d, he smiles. \u201cThen… we sit down. And the drawings start, one after the other, twenty-four drawings per second, and 1,440 per minute. For every new drawing, there is a risk that the work won\u2019t be like it was initially planned, which might cause fatigue or irritation. We have to remember there is a person seated in a dark theatre who can\u2019t leave because he bought a ticket, who doesn\u2019t want to see or feel, and yet we have to show him something and make him feel what we want. And there\u2019s more. We also have to make him like us, to turn him into a buyer of product X. It all has to seem like it was easy, like there was no pressure, because otherwise, we\u2019ve lost the match\u201d.<\/p>\n"},{"acf_fc_layout":"composizione_articolo_gallery","composizione_articolo_gallery_immagini":[{"composizione_articolo_gallery_immagini_immagine":"https:\/\/assets.fondazionepirelli.org\/rivista-pirelli\/wp-content\/uploads\/2019\/04\/18123023\/lo_spettatore_involontario_000.jpg"},{"composizione_articolo_gallery_immagini_immagine":"https:\/\/assets.fondazionepirelli.org\/rivista-pirelli\/wp-content\/uploads\/2019\/04\/11173001\/lo_spettatore_involontario_001.jpg"},{"composizione_articolo_gallery_immagini_immagine":"https:\/\/assets.fondazionepirelli.org\/rivista-pirelli\/wp-content\/uploads\/2019\/04\/11173002\/lo_spettatore_involontario_002.jpg"},{"composizione_articolo_gallery_immagini_immagine":"https:\/\/assets.fondazionepirelli.org\/rivista-pirelli\/wp-content\/uploads\/2019\/04\/11173003\/lo_spettatore_involontario_003.jpg"},{"composizione_articolo_gallery_immagini_immagine":"https:\/\/assets.fondazionepirelli.org\/rivista-pirelli\/wp-content\/uploads\/2019\/04\/11173005\/lo_spettatore_involontario_004.jpg"},{"composizione_articolo_gallery_immagini_immagine":"https:\/\/assets.fondazionepirelli.org\/rivista-pirelli\/wp-content\/uploads\/2019\/04\/18124938\/lo_spettatore_involontario_005.jpg"},{"composizione_articolo_gallery_immagini_immagine":"https:\/\/assets.fondazionepirelli.org\/rivista-pirelli\/wp-content\/uploads\/2019\/04\/18124939\/lo_spettatore_involontario_006.jpg"},{"composizione_articolo_gallery_immagini_immagine":"https:\/\/assets.fondazionepirelli.org\/rivista-pirelli\/wp-content\/uploads\/2019\/04\/18124940\/lo_spettatore_involontario_007.jpg"}]}]},"_links":{"self":[{"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/selezione_antologica\/1730","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/selezione_antologica"}],"about":[{"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/types\/selezione_antologica"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/media\/2167"}],"wp:attachment":[{"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/media?parent=1730"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/categories?post=1730"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rivistapirelli.org\/en\/wp-json\/wp\/v2\/tags?post=1730"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}