Keywords

• From 1908 to about 1930 in Italy
• some intellectuals sensitive to modernity gradually develop a new spectator canon
• based on the figure of the cinephile. This processing hides
• however
• a gender trategy. In the minds of his «fathers»
• the «new spectator» is opposed not only to an «ancient» and indistinct attender of movie theatres
• but also to the solid figure of the cineappassionata: the traditional female filmgoer. Identified as superficial subjects
• useful only to a first phase of the development of the medium
• women
• however
• in their Teens
• had already begun to carve out a personal space in the reflection on cinema. In this respect Cinematografo educativo (1916) is exemplary
• because it is a long essay written by the young feminist and pacifist pedagogue Angiolina Buracci. In her paper the author not only proves to know and attend the Italian cinemas from the very beginning of the movie business itself
• but also revealed to have an unparalleled independence of hought among her contemporaries