By Gabriele Lucci
Film/Movie consultant completely within the Italian language.
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Additional info for Noir: Dizionari Del Cinema
One is that for culture issues you have to really take time. So they shouldn’t expect that they will have a lot of export in three years, it’s impossible. On the other hand, one has to explain that art wouldn’t produce sort of a direct outcome immediately. ”50 In circumstances not all too favorable for cultural funding, the endeavor to get ﬁnancial support becomes adapted to what the funding institutions like to see presented as a possible outcome. As states Kusahara herself, it is evident that rhetorics in the promotion of art forms like Device Art are intrinsically linked to the wish to be funded and thus serve the best possible way to fulﬁll the funding situation’s requirements.
It didn’t just happen naturally. [It was] various individuals who knew each other. So what is the strength here is that there is a network of people in this field. It is a very close network – everyone knows each other… from art, from science, from engineering, from media. And I think this collaboration has taken place for many years. […] Earlier, the talk was: so, using this technology we can do this or that. … what do you find? That kind of thinking – they start with artistic approach[es]. It has very much changed.
39 In any case, the institution of Canon ARTLAB was strongly promoted by certain individuals, just as its closure was a consequence of a change in Canon’s leading structure. “When the new CEO came in 1994, he put a lot of stress on us already, but we could continue because we got some very important prize for our products, so he could not ask us to stop easily. ”40 The interests and personal tastes of individuals in company structures and in funding institutions are reﬂected in Canon’s establishment and ten-year promotion of ARTLAB, but also in its shutdown.
Noir: Dizionari Del Cinema by Gabriele Lucci