Despite the proliferation in the last ten years of studies on cinema tourism, the given or potential contribution of cinema museums (and other institutions such as archives, film archives, film libraries, media libraries, cinema houses or film culture centres) is missing in many contributions. Starting from Sicilian cinema museums, this article is meant to be an "experimental" contribution, based on some partial results of a PhD research on cinema museums and the communication of cinematographic heritage. The recovery of their history and activities offers a picture of the limits and potentialities expressed in their realisation and in the practices implemented, which is not limited only to a "cult" cine-tourism. Instead, two other directions are activated in these complex organisms: one creative, linked to the mechanisms of construction around the cinema (technological, aesthetic-perceptual, industrial, distributive, socio-economic, accessory); the other, relational, that is, of comparison between one's own person or group of people and an environment, a historical period and cultural characteristics. In the first section, in particular, we will focus on the Cinema Museum in Catania, the largest in size at the moment. The second, instead, casts a glance at the former Museum of Cinema in Syracuse, recently ceded by the former Director, Remo Romeo, to the local administration and in the process of reopening after being entrusted to a local cultural enterprise. The last passages instead offer some hints in the making from other contemporary realities.
Nonostante la proliferazione negli ultimi dieci anni di studi sul cineturismo manca in tutti i contributi l'apporto dato o potenziale dei musei del cinema (e di altre istituzioni come archivi, cineteche, filmoteche, mediateche, case del cinema o centri di cultura cinematografica). L'articolo, partendo dai musei del cinema siciliani, vuol essere un contributo "sperimentale", fondato su alcuni risultati parziali di una ricerca di dottorato sui musei del cinema e la comunicazione del patrimonio cinematografico. Il recupero della loro storia e delle attività offre un quadro dei limiti e delle potenzialità espresse nella realizzazione e nelle pratiche messe in atto che non si limita solo a un cineturismo "di culto". Si attivano invece in questi organismi complessi altre due direttrici: una creativa, legata ai meccanismi di costruzione intorno al cinema (tecnologica, estetico percettiva, industriale, distributiva, socio-economica, accessoria); l'altra, relazionale, cioè di confronto tra la propria persona o gruppo di persone e un ambiente, un periodo storico e dei caratteri culturali. Nella prima sezione, in particolare, ci si concentrerà sul Museo del Cinema di Catania, il più grande per estensione al momento. La seconda, invece, getta uno sguardo sull'ex Museo del Cinema di Siracusa, da poco ceduto dal fo ndatore Remo Romeo all'amministrazione locale e in fase di riapertura dopo l'affidamento a un'impresa culturale del territorio. Gli ultimi passaggi offrono invece alcuni spunti in fieri provenienti da altre realtà contemporanee.
I musei del cinema siciliani e il cineturismo ‘di là da rivedere'
G. SantaeraPrimo
2022-01-01
Abstract
Despite the proliferation in the last ten years of studies on cinema tourism, the given or potential contribution of cinema museums (and other institutions such as archives, film archives, film libraries, media libraries, cinema houses or film culture centres) is missing in many contributions. Starting from Sicilian cinema museums, this article is meant to be an "experimental" contribution, based on some partial results of a PhD research on cinema museums and the communication of cinematographic heritage. The recovery of their history and activities offers a picture of the limits and potentialities expressed in their realisation and in the practices implemented, which is not limited only to a "cult" cine-tourism. Instead, two other directions are activated in these complex organisms: one creative, linked to the mechanisms of construction around the cinema (technological, aesthetic-perceptual, industrial, distributive, socio-economic, accessory); the other, relational, that is, of comparison between one's own person or group of people and an environment, a historical period and cultural characteristics. In the first section, in particular, we will focus on the Cinema Museum in Catania, the largest in size at the moment. The second, instead, casts a glance at the former Museum of Cinema in Syracuse, recently ceded by the former Director, Remo Romeo, to the local administration and in the process of reopening after being entrusted to a local cultural enterprise. The last passages instead offer some hints in the making from other contemporary realities.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.