Un dolce inganno. Il sonoro nel cinema italiano dalla ricostruzione al boom
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In this essay cinema is set at the centre of the soundscape of immediate postwar Italy, at the time when the big
screen was acquiring greatest importance in its role as a catalyzer – not purely in a technological perspective –
of national imagination, but at the same time was preparing to give way to a new audiovisual system.
The background evidence is that of a fairly well-known development of remediation that propelled cinema
to the peak of popular imagination in 1950s Italy, subsequently repositioning it within the fledgling audiovisual
system under the impulse of the uneven industrialisation of the country. To gain an understanding of this
evolution, it is fundamental to take into account the relation of consanguinity of cinema with the acusmatic
media of radio and the gramophone disc. The resulting trends were twofold. On the one hand, a process of
mediation led Italians to adopt a new position within the social system that was taking shape; that is to say,
the viewers began to familiarise themselves with new listening techniques (spatialisation of sound, position
and posture of the body in the sound space, redefinition of perception standards and of aesthetic taste, electrification
of sound on the level both of production and reproduction). Thus one of the functions 1950s cinema
was called upon to fulfil was bring about a smooth transition between the new mode and the pre-existing
models of production, distribution and enjoyment of motion pictures. On the other hand, numerous formulae
of discursive negotiation sprang up, accompanying, driving or impeding this process; among such formulae, a
fundamental role was played by technology, not least the technology involved in sound reproduction.
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