Alfredo Leonardi

The title Amore amore (Love, Love) defines the primary emotive motor of the film and constitutes the filter through which are selected the materials used - people, things, signs - and determines a good portion of the associations though which the sequences unwind.

Experimental and anarchist young generation before May of 68'.

The struggle for housing in Rome, in the area of Magliana. Self-organization is opposed to the mediation of political parties, especially the Communist Party, and emerges as the only way for the emancipation and re-appropriation by the exploited.

Work and life of Musica Elettronica Viva, group of live electronic music, mainly composed by American musicians, active in Rome, Italy. –A. L.

A (temporary) leave of many friends who are my truest world, with the attempt of getting them together in an ideal summary conceived to support me during my being far away. –A. L.

Collective manifesto by the members of C.C.I. It is a collective film, the result of an operation devoid of any aesthetic purpose: to verify the existence of any harmony between a fairly large group (twelve people) of members of the independent Cooperative. Someone, who had the idea, turned 60 meters of Ektachrome according to the moods –or discontent – of the moment and gave them to others to see. The others reacted, each with their own piece. It was then thought to call the film “circular letter”. It was not so simple and so quick: the operation, which started in June of ’68, ended in March of ’69.

In the distant future, a spaceship inhabited by a group of young descendants of a "subversive" minority who escaped the destruction of the Earth, recovers a capsule in which the hibernating body of a reactionary warmonger has been preserved, who after having caused war and death, it has abandoned the now unlivable Earth. The visual experimentation aimed at the liberation of the gaze is intertwined with psychedelic visions on the one hand and with the orgone theory of Reichian memory on the other.

In this film, as in all my previous ones, there is a direct connection between inner urges and cinematic rendering. I tried to visualize my present aspiration to recover, through the various ways taught by one’s experience, the easiness, directness and ripeness proper to children’s relationships and affective life. This film is maybe a track of this path backwards. – A. L.

With Vampiro romano, Leonardi made his last experimental film before switching to collective videomaking with the group Videobase, which focused on political investigation and counter-information. "We are all vampires. We live and move forward, intellectually and emotionally, thanks to the contribution – the 'blood' – of the people closest to us."

On the occasion of the regional elections of 1970, the Italian Communist Party seizes a new model of propaganda and counter-information developed in France during May 68: the cine-tract.

In all of his work, Bussotti makes frequent reference to the body, to sexuality. This to remind musicians — especially classically trained ones — that they are not body-less angels, that they are not just their musical thoughts, that they are still, in the last analysis, flesh and bones. Thus the erotic is not for shocking, but to stress that making music involves the body in a very direct way.

Leonardi's first documentary Indulgenza Plenaria explicitly exposed, and implicitly criticized, a prevailing culture of oppressive policing and censorship, a widespread state authoritarianism in Italian society in the sixties.

No description available.

"The question is, it is either going to be a stoned age or a new Stone Age" - Louis Brigante

The documentary deals with the struggle s to obtain decent housing in a metropolis such the capital city of Italy in which the right for all to an acceptable dwelling is met with by all kids of serius obstacles-the chaotic increase of urbanization, the building speculation, the degradayion of suburbs, the magnitudine of slums with their unfortunatle inhabitants whose living condition have been dramatic for years. Starting from the Roman situation, the documentary faces the general housing problem in the country as whole and therefore the problrm of the struggles which people support - also through new structures such as People's Councils and Commitees - on the entire national territory in oder to attain one the primary goals of a decent society: a home whorty of its name for all its citizens.

A television experiment, filmed with the first portable video recorders, in the Ligurian community of Carloforte, on the island of San Pietro: for two months, the small crew lived in close contact with the people and their daily lives. They created a collective portrait, featuring former ore carriers, seafarers, salt workers, fishermen, tuna fishermen, industrial workers in the Sulcis area, young men and women from the nautical and teaching sectors, and the women, "white widows," wives of sailors, entrusted with raising their children. Three years later, in light of the changes, that first portrait—comprising life, work, feelings, and hopes, past and present—was shown to the islanders in the streets, squares, workplaces, and schools. Reactions and comments were filmed and incorporated into the final edit, which showcases the process and working method. Video is used as a means of recognition, identity, participation, and horizontal dialogue, a pioneering "street television."

Prison as the repressed side of an entire society. As such, it flows in the long monologue of an ex-con recorded by the analogue videotape which, still at his dawn, captures it in its integrity.

Omsa Sud workers’ struggle to keep the factory occupied. The documentary was partially realized within a project financed by the city of Fermo, which initially included the idea of teaching video shooting techniques as part of a laboratory. Omsa Sud was shot only in one week, an unusual occurence for the Videobase group, and features as part of their methodology the "video within the video" approach.

A video made for RAI by Videobase in 1972

The struggles of the workers at Montedison in Porto Marghera, following an accident that resulted in the deaths of three people.