The role of culture and cinema for Italy and Rome

Many young talents emerge from good academies, for whose development it is necessary to rely on a serious form of meritocracy. Starting from Franceschini’s book and investing from the audiovisual majors. Luigi Tivelli’s comment

Minister of Culture Dario Franceschini recently published a book with the provocative title “With culture you do not eat”, borrowed from a somewhat unfortunate expression several years ago by the then Minister of Economy Giulio Tremonti. Franceschini is the first Minister of Heritage and Culture now with the longest course in Republican history, with rich experience and no doubt along with Giovanni Spadoliniwho, among other things, established the ministry, and ad Alberto Ronchei, the best. I find it very right and significant that a minister wants to emphasize the theme of culture and the crucial role from an economic as well as a social point of view that culture has for a country as rich in cultural resources and stimuli as Italy.

The cultural sector in Italy contributes significantly to GDP and in terms of the attractiveness of tourism from abroad, although it is limited for now, but which may wake up, especially if the right interventions are activated. The country is an open-air museum for the archeological assets it holds, for the richness of the museums, although not yet sufficiently valued, although progress has been made recently, and for the liveliness of other sectors, among which cinema is not insignificant.

Consider, for example, the case of Rome, a real open-air museum where cinema and audiovisual media are the second sector of the city’s total GDP. In the cinema, major projects are underway. For everyone, in addition to the rich contributions that PNRR has made to the cultural sector, consider the 300 million for the development of the Cinecittà studies, which the CEO Nicola Maccanico it helps to lead and make the best use of it, as demonstrated, among other things, by the agreement with the CDP on the rich amount of hectares next to the Cinecittà studios, which will be the site of development.

This will make Cinecittà a great hub for Italian, European and international cinema. It is true that cinemas are suffering from the crisis in cinemas, as with the pandemic, the citizens’ habit of going to the cinema has diminished, but fortunately large platforms such as Netflix, Amazon Prime, Disney + have also established themselves more and more in Italy allowing maintenance and development of film productions. Much of this renewed vitality in Italian cinema, primarily thanks to platforms, Rai, Sky and other operators, is concentrated in Rome, where the cinema’s already strong potential can be expected to develop. Moreover, in Rome there is not only a new mayor with a curriculum and an international scope, not only are there appointments in sight such as the anniversary and the possible Expo, but the mayor has equipped himself with a cabinet chief such as. Albino Ruberti which headed Zetema, a company that organizes city events in Rome, especially promoted by the municipality, and Civita, a company that also manages dozens of museums.

We are already seeing the first signs of the new mayor’s strong attention to the development of culture, perhaps also thanks to the new chief of staff, and it must be assumed that these will become ever wider for Rome. For Rome, culture is a crucial and fundamental field, also to attract tourists from Italy and hopefully more and more from abroad. Fortunately, companies have also developed in Rome in other innovative sectors in addition to the traditional construction sector, but it seems to me that Rome has a natural destiny, given its history, as the capital of culture and film. Two fields where many young talents emerge from good academies, for whose development it is necessary to rely on a serious form of meritocracy, also because meritocracy is the twin of competition and only with doses in these increasingly important sectors of meritocracy and competition, are the development of a sector such as culture and film possible by overcoming the ball and the chain of familisms and with the widespread ethics in the recommendation that it is the right pesticides that kill both the possibility of a healthy fertilizer function and the flowering of talents .

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