Country: Italy
Year: 1969
Duration: 9'
Exposure: natural simulated light Developing technique: creative moment of Modulation transfer. Total length: 90 mt. So subdivided: reel a) 60 mt. of anchromatic reversible stock; reel b) 30 mt. of reversible stock orthochromatic. Reel processing a): I developing: developer Ferrania R36; time 3’ at 24°; gamma = 0,3; stop bath: 2’ at 20°. I developing (with coil contact, that is emulsion against emulsion): developer Ferrania blue/black tone; time 60’ at 20°; gamma = 8. Actinic light projection with total red reduction, dot-like guided with albedo 0,8 factor on every single frame. Reversal: time 2’ at 20°. Stop bath. III developing: developer for pure black tone; time 6’ at 20°: gamma = 0,2. Reversal: time 11’ at 15°. II exposure: time 3’, W 500 bulb (only on the emulsion side). I developing developer Ferrania R 36; time 2’ at 20°; fixing: time: 1’ at 12°. Reel processing b): I developing: developer Ferrania R 36; time 6’ at 20°. Partial solarization with 15 W green light bulb m. 4 from the film ; time: 4’. I developing: developer Ferrania R 36; time 3’ at 20°. Stop bath. Fixing: 2’ at 20°. Reversal: time 19’ at 22°; in reflected light with Fresnel lens filtered through red dry plate polarized with absorption factor 6; light quality: 70% infrared, 30% ultraviolet; power W 1500. Latensification and its phases: 1) film cleaning: 8’ at 18°; 2) hardening: 5’ at 20°; 3) film cleaning: 5’ at 20°; 4) intensification: 10’ at 20°; 5) film cleaning: 8’ at 12°. (P. Bargellini)
Development: in modulated light
PERCEPTION
The sinusoidal variation of the intensity of light, concentrated in one direction (or image point), influences the macrostructure of the emulsion (frame).
VISION
The images differ according to the number of cycles per millimeter, or rather, to the spatial sequence. (P. Bargellini)
Biography
film director
Piero Bargellini
Pierfrancesco Bargellini (Arezzo, 1940-1982), also known as Piero, bought his first movie camera when he was 20 and pointed it at his youthful passions: competition cars and motorcycles. A few years later he met Marco Melani, who became his cinema companion and an actor in his films. He started to make a name for himself in the world of amateur filmmakers and won a prize at the festival of Montecatini. One of the members of the jury was Massimo Bagicalupo, a founder of the Cooperativa cinema indipendente, and he invited Bargellini to enter the brand-new world of Italian underground cinema. While working as an agronomist at the Val di Chiana Irrigation Office he continued to make films in his free time, but shortly afterwards, with the notice and support of the magazines “Cinema & Film” and the group “Filmstudio 70,” he left his job and moved to Rome. Here, during the early 1970s he worked occasionally for RAI and carried on his activity as an independent director in the world of underground cinema. During this period he suffered a series of misadventures with the law and ended up fleeing to Turkey with his wife Oriana and their daughter Rebecca in 1975. After returning to Italy he continued experimenting, jotting down his discoveries in a series of notebooks and fruitlessly trying to find financing for various projects for experimental programs for Rai. Bertolucci and Storaro consulted with him during preparation for La Luna (1981) to try to resolve problems with various special effects. But Bargellini progressively lost contact with the world of cinema and shortly thereafter his troubles with the law began. He was found dead, officially because of an overdose, at dawn on July 10, 1982.
FILMOGRAFIA
Il teschio; La fiera dei sogni; L’incompiuta; Club 3P Battifolle (1965), Anno 2000 (1965), La striscia (1966), ...vi prego di accettare questo semplice bouquet di parentesi appena sbocciate ((())) (1966), Questo film è dedicato a David Riesman e si intitolerà «Capolavoro» (1967), Morte all’orecchio di Van Gogh (1968), Fractions of Temporary Periods I parte: Ovvero Plans- Séquences per una bambina (1965-1968), 360° di cinediario (1968), Tempo-Tempio-Ritratto (1968), Macrozoom (1968), Baraccone (1968), Water-Closet ovvero attesa per una defecazione (1968), Stricnina (1969- 1973), Fractions of temporary periods II parte: Due ore pomeridiane della bambina (1969), Trasferimento di modulazione (1969), Nelda (1969), Un ottofilm di Pierfrancesco Bargellini (1969), Zukie (1970), Gasoline (1970), Bacino Casa del lupo o di Tonino Massimo e Piero (1970, esiste solo in stato di frammento/only fragments), Oracolo (1970-1971, distrutto dall’autore nel 1974/destroy by the director in 1974), Erinnerung an die Zukunft (1970, non terminato/unfinished), Due silenzi e un’armonica (1971), Dove incominciano le gambe (1974)
Dispersi/Lost: Saluto (gennaio/January 1968, 8-16mm, 18fts, sonoro/sound, 3’30’’, bn/bw), Relazione filmata (1968-1970, 8mm, 24fts, sonoro/sound, 13’, col.); Abbandonate ogni illusione, preparatevi alla lotta (co-regia/co-director Marco Melani, Stefano Beccastrini, 1969, 16mm, 24fts, 40’, col.-bn/bw)