alessandro gagliardo enrico ghezzi

enrico ghezzi enrico ghezzi is (?) almost sixteen years old in May 1968. He loves Eddy Merckx like Jean Vigo like Max Stirner like the 8 meters and 90 centimeters of Bob Beamon like… He engages with cinema and television (or better, and worse! he is engaged by it). Since 1979 he has worked at Raitre, for which he curated or invented film cycles, the 40 hours non-stop of La Magnifica Ossessione (1985), and the TV programs Fuori Orario, Schegge, Blob (and Publimania and Fine senza fine and Zaum - andante a parer). From 1987 to 1994 he directed the television schedule for Raitre, theird channel of Italian public television broadcast, directed at the time by Angelo Guglielmi.

He enjoys writing too much to (almost?) avoid being drowned in the images. He directed the Taormina festival from 1991 to 1998. From 2004 to 2010 he curated Il Vento del Cinema, a festival of encounters between cinema and philosophy held on the island of Procida (Naples).

As a director, he has produced some TV programs, the short film Gelosi e tranquilli (1988) and music videos (for Franco Battiato, 99 Posse, Morgan).

He has published several books for Bompiani - after writing for a lifetime on Il Manifesto, Sole 24 ore, Corriere della sera, Filmcritica. He has two daughters, a son and a nephew.

Like everyone, he believes he loves and does not know if he is loved.

His publications include: the monographs Walt Disney (1985, with Edoardo Bruno) e Stanley Kubrick (1995 Updated ed.); the collection of critical writings Paura e desiderio: cose (mai) viste, 1974-2001 (Bompiani, 1995) and Cose (mai) dette: fuori orario di fuori orario (librorale) (Bompiani, 1996); and moreover Il mezzo è l'aria (Bompiani, 1997), Discorso su due piedi (il calcio) (Bompiani, 1998, with Carmelo Bene), Stati di cinema: festival ossessione (Bompiani, 2002).


alessandro gagliardo Wild archivist, inventor, aperiodic film formalizer, “matanghiante”. Since 2005 he has been conducting experiments for the paradigm shift from "making a film" to

"writing a book that you can see". He has travelled malestrade with exceptional people, making films like Un mito antropologico televisivo, Antropologhia, Alarm!, Alla Grecia, to name a few and not in chronological order. 

or ten years he has been studying and designing a software with which he is convinced it is possible to break the unidirectionality of each media. Despite the offer of undying glory and five per cent of the patent, he has not yet found illuminated pockets.

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