Sebastiano Arturo Lucianistato was a composer and film critic from Acquaviva delle Fonti. The author emphasizes how, compared to theater and narrative, cinema seems to be in a position of clear inferiority. This is attributed to its inability to develop original content, since it tends to propose and rework themes already present in other artistic forms, without being able to give life to something truly innovative.
A crucial point of criticism lies in the predominance of the technical factor within the film industry, which leads to neglecting the spiritual and content aspects of the work. The author highlights how the commercialization of cinematographic art compromises the artistic value itself, leading to a general lack of originality in the subjects treated. This situation is aggravated by the tendency of producers to think that money can solve every problem, leading them to believe that expensive subjects can automatically guarantee commercial success.
Furthermore, it is highlighted that producers often do not fully understand the intrinsic value of the material they deal with. This leads to situations in which, after having invested considerable sums to acquire a subject, they transform it in ways that compromise its recognisability and integrity, due to choices considered commercially valid.
The author expresses the belief that this lack of artistic sensitivity on the part of producers contributes to a persistent mistrust on the part of writers towards cinema. As a result, the film industry continues to depend on second-hand works, drawing mainly on adaptations of already existing plays or narrative works.
We thus come to the conclusion that the inferiority of cinema cannot be overcome until the screenplay is elevated to a literary genre of equal dignity with drama or novel. Currently, the film screenplay is not considered a pleasant or accessible form of reading. The author hopes for a regeneration of cinema through the birth of a new cinematographic literary genre, capable of fusing the techniques of film with literature.
The question of rhythm is mentioned as a fundamental element that is often missing in traditional scenarios, and that is essential to distinguish artistic prose from commercial prose. The author concludes with the hope that, when we will be able to publish and read cinematographic works in written form, regardless of their eventual realization, the current inferiority of cinema compared to other artistic forms will cease.
Taralli with Salento Dried Tomatoes
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