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A prize aimed at paying homage to intellectuals and artists who, with their precious work, have made possible a great utopia linked to the universe of cinema.
One, no one and one hundred thousand. There is an ante- and post- enrico ghezzi in Italian television. It was the era of Rai 3 directed by Angelo Guglielmi, and a benign videodrome was being released into the ether, which would deeply transform ways of thinking about cinema. But it is not only that. Even the formality of a late-night club cinephile ritual or of a cycle of films dedicated to an author or a genre or a period cracked with ghezzi. Surrounded by his friends Roberto Turigliatto, Marco Giusti, Marco Melani, Sergio G. Germani, the indefatigable Ciro Giorgini and many more, ghezzi shook up the very manner of thinking about film on television. His origins, from the pages of Il Falcone Maltese, Filmcritica, father Arpa’s work, clubs in Genoa and not only, Adriano Aprà’s pioneering explorations, a love for Gianni Amico, complicity with Jean-Marie Straub and Danièle Huillet, Giovanni Buttafava’s kolkhozian brilliance, are important. A whole generation seemed to merge and converge within Guglielmi's Rai 3. ghezzi sensed that cinema is everywhere: we see and we think like cinema. It was not just a question of applying Heidegger and Derrida, but of realizing that cinema had caused a metamorphosis in the glance. Cinema creates the glance it needs to be watched with. Fuori orario nights have formed programmers and cinephiles; spectators and aficionados. And have made it possible to realize that Lav Diaz can coexist with Cottafavi, as Straub can with Cimino. And that television was transforming cinema into something else, something never seen before. Like a Cronenberg body, ghezzi has multiplied and contracted, he has also become something else: an adjective. ghezziano. Some “thing” meaning a way of thinking and seeing. All said, of living.
Giona A. Nazzaro