纪录片自媒体解说素材-新闻动态参考-纪录片管理员Alessandro Melazzini说，“ Italo Disco”不仅仅是布吉之夜/‘Italo Disco’ Was About More Than Boogie Nights, Documentarian Alessandro Melazzini Says
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0503/5857lfvuhdl4fpt.jpg纪录片管理员Alessandro Melazzini说，“ Italo Disco”不仅仅是布吉之夜
‘Italo Disco’ Was About More Than Boogie Nights, Documentarian Alessandro Melazzini Says
亚历山德罗·梅拉齐尼（Alessandro Melazzini）从一个特定的角度接近了80年代流行舞蹈音乐的主题。出生于桑德里奥（Sondrio），伦巴第（Sondrio），伦巴第（Lombardy）的意大利纪录片人曾拍摄过修女和色情明星，他的经济学家和哲学家曾被培训，并从事经济学家和哲学家的培训。作为文化记者和翻译。“我以前的纪录片是关于西斯多派的，”“ Italo Disco”的总监说，该主任在JI.Hlava国际纪录片电影节上刚刚在全球首映中放映。 “我的第二次是在色情明星转变的政治家Ilona Staller，又名Cicciolina。 “ Italo Disco”非常适合两者之间，您不觉得吗？ Melazzini说，它还可以突出差异。同时，他的电影被称为“另一个时间和地点的游览，也许是另一个星球”，然后当数以百万计的欧洲人沉迷于“合成的声音，引人入胜的旋律和一般奇异的英语歌词）时，一个时代的时代通常与坚持不懈的未来视频相结合。”但是，不仅仅是一场大发，大秀的魅力之旅，“ Italo Disco”提供为了考虑那个时代的音乐产业的环境及其在推动某些人宁愿忘记的配乐中的作用。意大利迪斯科风格“出生于意大利，然后在德国赋予了新的能量，整个星球都在跳舞。”而且，正如他的分析文档所表明的那样，很容易低估独立，非意识形态逃生音乐的重要性。80年代被视为肤浅的十年。” Melazzini说。 “随着时间的流逝，您还有另一种方法，这不仅仅是愚蠢的。这也是一个乐观，实验，承诺，幻想的时期。导演说，他最大的时间支出并没有像您一样搜索VHS磁带的旧档案可能会想象。取而代之的是，它正在重新创建该时代的音频景观。“最音乐的努力是用原创音乐创作正确的配乐。导演说，这种现象比吸引人的曲调更重要的是，我试图理解Italo Disco不仅是音乐流派，而且是整个经济学，尤其是经济的，而不是吸引人的音乐。行业和社会生活方式。我的研究可能对此有所帮助，这就是为什么我花时间还专注于Italo Disco的制作人。粉丝的有趣电影。”他说。我也试图为不知道Italo Disco是什么的人制作一部电影，也许他们认为这是不值得的。我不知道有些不幸的音乐宝石从未去过主流。”他说。但是导致发现“对我来说，就像在达夫·朋克（Daft Punk）之前20年那样听起来像是Daft Punk。”档案录像也有其他收益。这次我得到了罗马的专业研究员Guglielmo Parisani的帮助。导演说，这是从镜头中浮现出来的，这是他对意大利里维埃拉的'dolce vita'的怀旧感，它很快就去世了，以至于现在看起来像是另一个世纪……实际上，这是。”该档案材料还证实了梅拉齐尼的怀疑，即70年代和80年代的意大利电视节目是“令人难以置信的材料的一个屋顶”。与此同时，导演说，实际上，实际上，他发现他发现的东西创造了他所描述的权利困境作为“恐怖，我不仅要成为导演，而且还必须经历制片人。梅拉齐尼说，平衡委托编辑的态度是一种更加令人鼓舞的态度，这是我的创造力的巨大障碍。他说，他对“ Italo Disco”提出了“非常了解流行文化的文化和社会意义”。“但是花了一些时间才能找到它们 - 我花了数年的时间才为该项目提供资金。我感谢他们的远视。”
Alessandro Melazzini approaches the subject of 80s pop dance music from a particular perspective.
Born in Sondrio, Lombardy, the Italian documentarian, who has filmed both nuns and porn stars, is based in Germany and was trained as an economist and philosopher, and also worked as a cultural journalist and translator.
“My previous documentary was about Cistercians,” says the director of “Italo Disco,” which just screened in its world premiere at the Ji.hlava International Documentary Film Festival. “My second-last one was on porno star-turned-politician Ilona Staller, a.k.a. Cicciolina. ‘Italo Disco’ was a perfect fit in between, don’t you think?”
The founder of Alpenway Media, Melazzini has produced films from “The Italian Character” to “Our Stone” while also often working as a director.
Music unites but it can also highlight differences, Melazzini says. His film, meanwhile, has been called “an excursion to another time and place, maybe to another planet,” and to an epoch when millions of Europeans indulged in “synthesized sounds, catchy melodies and generally bizarre English lyrics, all often combined with insistently futuristic videos.”
But more than simply a tour of big-hair, big-show glam, “Italo Disco” offers up for consideration the circumstances of the music industry of the era and its role in pushing a soundtrack some would prefer to forget.
The Italo Disco genre “was born in Italy, then given new energy in Germany and the whole planet danced,” says Melazzini.
And, as his analytical doc makes clear, it’s easy to underestimate the importance of independent, non-ideological escape music.
The 80s have been seen as a superficial decade,” Melazzini says. “With time you have another approach to that period, which was more than just silly. It was also a time of optimism, experimentations, promises, illusion. And genius creativity.”
His greatest expenditure of time, the director says, was not searching through old archives of VHS tapes, as you might imagine. Instead, it was recreating the audio landscape of the era.
“Most musical effort was in creating the right soundtrack with original music. I think composer Luca Vasco made a great job.”
But there was more to the phenomenon than catchy tunes, says the director.
“I tried to understand that Italo Disco was not just a music genre, but a whole époque, and especially an economic industry and a social lifestyle. My studies may have helped in that and that’s why I spent time also focusing on the producers of Italo Disco.”
Melazzini confesses it has sometimes been an uphill climb getting critics and historians on board for his film.
“I didn’t make only a fun movie for fans,” he says. I tried to make also a movie for people who don’t know what Italo Disco is and maybe they think it is not worth getting into it.”
But his research confirmed he was on the right track, says Melazzini.
“Before starting the project I wasn’t aware of some of the musical gems that unfortunately never went mainstream,” he says. But leading to the discoveries that “sound to me like Daft Punk 20 years before Daft Punk.”
Archival footage had other payoffs too, the director says.
“I like to work with footage as I did with my previous movie about Cicciolina. This time I was helped by Guglielmo Parisani, a professional researcher in Rome who found great material.”
It was also clear to Melazzini from the beginning that he needed to partner with Italian TV broadcaster RAI to get the best footage of the period.
One surprise that emerged from the footage, the director says, was his own sense of nostalgia “for the ‘dolce vita’ of the Italian Riviera, which passed away so quickly so that now seems like another century…which, in fact, it is.”
The archival material also confirmed Melazzini’s suspicions that Italian TV shows of the 70s and 80s were “a hothouse of incredible material.”
At the same time, the director says, actually using what he found created rights dilemmas he describes as “the horror I had to get through as not only director but also producer. It was a huge obstacle in my creativity, but also a challenge that I accepted.”
Balancing out the fight for rights was a more encouraging attitude from commissioning editors, says Melazzini, who he says did not have to be convinced that his subject was worthy of serious study.
Those he pitched "Italo Disco" to were “very aware of the cultural and social meaning of pop culture,” he says. “But it took time to find them all – it took me years to finance the project. I am grateful to them for their far-sightedness.”
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非常不错，感谢楼主整理。。 感谢分享啊。谢谢版主更新资源。 谢谢楼主分享，发现宝藏了。
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