The 15th volume of the journal Quaderni del CSCI. Rivista annuale di cinema italiano (2019) is now available.
The theme of this issue, edited by Roberto Calabretto, Marco Cosci and Elena Mosconi, is All’ascolto del cinema italiano: musiche, voci, rumori.
It features two articles that deal with animation:
Marco Bellano, “L’insolita canzone. Sulle tracce della musica per l’animazione italiana” (pp. 68-74);
Marco Bellano, “Pianoforti, organi e tastiere” (pp. 219-221).
The publication of the proceedings of the “Animation and Italy” conference (Univeristy of Padova, May 29-30, 2014) reaches its second installment.
The downloadable articles you will find below originally appeared in issue #178 of the journal “Cabiria – Studi di Cinema”.
The third and last installment of the proceedings will be published in issue #179 of the same journal, and on ANIMATA afterwards.
Indice e editoriale
Cristina FORMENTI, Dal neorealismo al documentario animato scientifico: le animazioni “realiste” di Gibba
Mauro GIORI, Quando l’animazione italiana tentò la via del porno. Intorno a Il nano e la strega di Gibba e Libratti
GIBBA, Come è nato L’ultimo sciuscià
Raffaella SCRIMITORE, Luigi Liberio Pensuti, film d’animazione oltre la propaganda
Marco BELLANO, «Oh… Musica moderna!» Hollywood, satira e “modernismo” nella musica di Giuseppe Piazzi per I fratelli Dinamite
Illustrations – Part 1
Illustrations – Part 2
The first part of the proceedings
The third part of the proceedings
(The proceedings are in Italian).
Originally published in “Cabiria” no. 171, 2012, pp. 28-42.
An overview on the representation of the third dimension in Disney films.
Download La dimensione che non c’è
Originally published in “TRANS-Revista Transcultural de Música/Transcultural Music Review”, n. 16, 2012 (http://www.sibetrans.com/trans/)
Japanese composers for animation are usually asked to write preliminary music based on concept art and pre-production materials. This music is released in CDs called image albums. The existence of image albums influences the creation of film music, as the composer is required to restrain inspiration within the boundaries of the preliminary music, written without concern for audiovisual relationships. Because of that, music in Japanese animation usually works as generic commentary to the moving images, without detailed forms of interaction. Studio Ghibli composers, however, have found ways to define more complex audiovisual functions by using processes of new orchestration and variation.
Download From Albums to Images