Abstract

The article seeks to formulate a model for the mapping out of Italian cinematographic production 1949-1976. It pays particular attention to a set of original materials which accompanied the production process of each film, yet which are often taken little into consideration: documents from the production companies, from the leading banks and from the public institutions which supervised the whole process. The essay analyses the characteristics and features of the archives, as well as accessibility issues and property rights, suggesting possible strategies to facilitate the creation of new archives.