It is in the 1950s that the figure of Quirino De Giorgio (1907-1997), already a well-known architect of community spaces, comes to the fore in the feverish construction of movie theater that characterised the post-World War II peninsula. The essay investigates De Giorgio’s critical thinking by focusing on a case study devoted to the ‘microphysics’ of the movie theatres, understood as a series of devices, accessories, practices conceived to structure the spectator's cinematic experience (from the environ- mental disciplining of the audience to the construction of specific temporalities of programming), traces and spies of a material culture and a network of relationships.
Dispositivi di comunità, architetture di visioni: la sala cinematografica di Quirino de Giorgio
Laura Cesaro
2025-01-01
Abstract
It is in the 1950s that the figure of Quirino De Giorgio (1907-1997), already a well-known architect of community spaces, comes to the fore in the feverish construction of movie theater that characterised the post-World War II peninsula. The essay investigates De Giorgio’s critical thinking by focusing on a case study devoted to the ‘microphysics’ of the movie theatres, understood as a series of devices, accessories, practices conceived to structure the spectator's cinematic experience (from the environ- mental disciplining of the audience to the construction of specific temporalities of programming), traces and spies of a material culture and a network of relationships.
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