direttore Paolo Di Maira


The valorization of our country’s cultural heritage through cinema and audiovisuals is a possible yet very demanding mission. This topic was covered last March in Rome at the seminar entitled “Cultural and audiovisual locations: instruments of valorization, State-regional partnerships and good practices”, an event that was part of the official calendar of Open Administration Week organized by the Department of Public Administration.

The meeting – organized by Italy for Movies, the national locations and audiovisual production incentives portal, and moderated by Lorenzo Canova – aimed to open up a debate between central public administration and the Film Commissions as regional interfaces with members of the trade.
The order of the day included the need to establish procedures that could facilitate the relationship between the world of audio- visual production and the people responsible for cultural sites.
While there can be no valorization without protection, as the new Cinema DG Mario Turretta points out (boosted by his valuable experience at the regional direction of the Piedmont Cultural and Landscape Assets Department and at the Consortium of regional Savoyan residences in Piedmont), and cultural valorization needs to proceed in step with certain economic valorization criteria (“We are working on a draft table of charges concerning the granting of the use of assets with minimum economic conditions from which it is possible to derogate”, announces Antonio Tarasco of the DG Museums), it is necessary, the speakers agreed, to harmonize the requests in order to provide clear rules to be presented to audiovisual operators.

This is the task of the work group created from the National Coordination Round Table of Film Commissions consisting of the Roma Lazio Film Commission, the Film Commission Regione Campania, and the Film Commission Torino Piemonte.
Cristina Priarone, director of the Roma Lazio Film Commission, clarified the work group’s objectives: transparency of the interface and availability of the assets, tariffs modulated according to the entity of the client, rapid response times. The aim is to give clear, usable and transmissible references.

She then repeated the need to work on the widespread cataloging of the sites that was not limited to big attractions but also valorized small villages and, above all, “would enter into the audiovisual language”, i.e. mapping the places in a technical way.

Cristina Priarone contributes her experience with the Roma Lazio Film Commission which has already been already involved, for several years, in structuring the offering of public sites in the region.

With a very concrete approach, Italy for Movies relaunched the recognition given by the MiBAC (Italian Ministry of Cultural Heritage and Activities) to the search for good practices and models to propose to the vast galaxy of organizations that manage Italy’s artistic and cultural patrimony.

One eloquent piece of information: the patrimony managed by the MiBAC represents just 8.8% of the Italian public and private archaeological museums (478 out of 4889).

With a similarly concrete approach Maria Giuseppina Troccoli and Bruno Zambardino (DG Cinema) have announced the imminent translation of Italy for Movies also into Chinese.

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