Between 1954 and 1980, the entrepreneur Luigi Danieli acquired filmmaking equipment to produce over a hundred films, attesting to his role as an amateur filmmaker. At the same time, however, how he organized his films, equipment, documents, and photographs – storing them on shelves and in notebooks, labeling, arranging, and cataloging them – suggests a possible interest in archival practices. These objects and the procedures used to organize them have been preserved by his heirs and are now a subject of study within the scientific community. Nonetheless, the relationships between the individuals and elements within the collection enrich its possible meanings and values, prompting further reflection. This article addresses the origins, evolutions, and meaning of the relationships between the Danieli collection, its founder, his heirs, and historians.
Nato per la meccanica, cresciuto con le immagini. La collezione Luigi Danieli tra film, tecnologia e pratiche culturali
Steven Stergar
2025-01-01
Abstract
Between 1954 and 1980, the entrepreneur Luigi Danieli acquired filmmaking equipment to produce over a hundred films, attesting to his role as an amateur filmmaker. At the same time, however, how he organized his films, equipment, documents, and photographs – storing them on shelves and in notebooks, labeling, arranging, and cataloging them – suggests a possible interest in archival practices. These objects and the procedures used to organize them have been preserved by his heirs and are now a subject of study within the scientific community. Nonetheless, the relationships between the individuals and elements within the collection enrich its possible meanings and values, prompting further reflection. This article addresses the origins, evolutions, and meaning of the relationships between the Danieli collection, its founder, his heirs, and historians.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
