The idea of creating a national school of cinematography in Italy dates back to 1930 and is attributed to director Alessandro Blasetti. In 1934, Luigi Freddi, who was placed at the direction of the newly created Directorate General for Cinematography, established the Centro Sperimentale di Cinematografia, with literary critic Luigi Chiarini in charge of its academic direction.
The school officially opened on April 13, 1935, temporarily housed in the basement of a middle school while its permanent facilities on Via Tuscolana were being designed by architects Antonio Valente and Pietro Aschieri. Construction of the new complex began in 1937, creating what would become an internationally recognized jewel of architectural design.
The Centro Sperimentale di Cinematografia is headquartered in Rome, with five regional offices in Abruzzo, Lombardy, Piedmont, Sicily, and Veneto. It is known for its research and experimentation and offers a range of courses covering different aspects of filmmaking, taught in both English and Italian.
When courses began on October 1, 1935, they were divided into five branches: acting, optics, phonics, set design, and production. Some teachings, such as aesthetics and history of cinema, social function of cinematography, and art history, were common to all specializations. The course lasted two years, with an optional third year for those who applied.
Today, the school offers a wide range of three-year courses covering various aspects of filmmaking. Entry is highly competitive, with only six to eight places available per class. The school has a history of admitting a large number of international students and offers courses in acting, directing, cinematography, set design, costume design, screenwriting, sound design, film editing, film production, and, since 1983, animation.
Throughout its history, the Centro Sperimentale di Cinematografia has been more than just a film school; it has been a cultural institution of great importance to Italian cinema. From its early days, it was equipped with a library and a film library (Cineteca), which became rich with masterpieces of world cinema. The school also published “Bianco e Nero,” a pioneering magazine of film history and criticism, and produced educational films on film technique.
During the fascist era, the Centro Sperimentale di Cinematografia became a place of development of critical consciousness in antagonism with the regime. After World War II, when much of the original production equipment was stolen or destroyed by Nazi occupiers, the school reopened in 1946 and continued its mission of educating filmmakers.
In 1949, a law established the National Cinematheque (Cineteca Nazionale) and provided for the mandatory storage of all films of national production, making Italy one of the first Western countries to implement such a preservation policy. Today, it is one of the oldest film archives in the world.
The Centro Sperimentale di Cinematografia has educated generations of influential filmmakers, including directors such as Michelangelo Antonioni, Giuseppe De Santis, Pietro Germi, Marco Bellocchio, and Liliana Cavani; actors like Claudia Cardinale, Sophia Loren, and Alida Valli; and cinematographers such as Vittorio Storaro and Nestor Almendros.
In 1955, it became a founding member of the international CILECT (Centre International de Liaison des Ecoles de Cinéma et de Télévision) network of film schools, further cementing its place as a globally significant institution for film education.
The school’s mentors have included renowned figures such as Piero Tosi (costumes), Giuseppe Rotunno (photography), and Giancarlo Giannini (acting), ensuring that students receive instruction from some of the most accomplished professionals in the field.
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