Giannalberto Bendazzi

giannalberto_bendazzi
Giannalberto Bendazzi is currently a Visiting Professor of History of Animation at the Nanyang Technological University in Singapore. Bendazzi started his career as a journalist and always was an independent, self-funded scholar. He turned to full-time academic teaching by the end of the 1990s and has lectured extensively in all continents. An Italian by birth, Bendazzi’s best efforts are devoted to international projects. An acclaimed author in his sphere, his best known book is Cartoons: 100 Years of Cinema Animation (Bloomington, Indiana: Indiana University Press, 1994), a world history of the medium published in Italian, English, French, Spanish and Persian. Bendazzi also wrote Alexeieff – Itinéraire d’un maître / Itinerary of a Master (Paris: Dreamland, 2001 in English and French), devoted to the famous auteur of avant-garde short films. Bendazzi‘s prolific written works include live-action cinema, especially comedy, as shown by his books The Films of Woody Allen (Fabbri, 1984) and Mel Brooks (Il Formichiere, 1977). His principal passion and dedication remain animation. In order to promote this medium Bendazzi writes books, retrospectives, articles, essays, contributes to and participates in festivals, delivers lectures, classes and so on. Giannalberto Bendazzi does not love animation as a collector loves his stamps or a fan loves his football team. He deeply admires this art that has always been underestimated, or even neglected, and therefore deserves a special praise.

UNIVERSITY APPOINTMENTS

Selected Publications

Free PDFs

Notice: citations from the website texts should be accompanied by hour, day, month, year of the visit, not by the date of the original publication. Actually, texts in the website may any time have underwent retouches and remakes, and do not refer philologically to the printed edition.

This section covers most of the books and booklets published by Giannalberto Bendazzi. Some are still available, some are out of print. The texts of the latter ones will be, little by little, uploaded here.

Quirino Cristiani, pionero del cine de animación

Quirino Cristiani, pionero del cine de animación

Editions

ES 2008
Free
PDF
Leontina riemerge

Leontina riemerge

Editions

IT 2006
L’uomo che anticipò Disney

L’uomo che anticipò Disney

Editions

IT 2007
Animazione e realismo

Animazione e realismo

Editions

(ed.) IT 2005
Free
PDF
Lezioni sul cinema d’animazione

Lezioni sul cinema d’animazione

Editions

IT 2004, 2005
Free
PDF

Defining Animation – A Proposal

Editions

IT 2004 │ ENG 2004 │ ESP 2004
Free
PDF

African Cinema Animation

Editions

IT 2004 │ ENG 2004
Free
PDF

Alexandre Alexeieff – Poemes de llum i ombra / Poemas de luz y sombra / Poems of Light and Shadow

Editions

(booklet) CA 2003 │ ES 2003 │ EN 2003
La fabbrica dell’animazione. Bruno Bozzetto nell’industria culturale italiana

La fabbrica dell’animazione. Bruno Bozzetto nell’industria culturale italiana

Editions

(ed.) IT 2003
Il cinema d’animazione e la nuova critica

Il cinema d’animazione e la nuova critica

Editions

(ed.) IT 2006
I continenti dell'animazione

I continenti dell’animazione

Editions

(booklet) IT 2002, 2003
Alexeieff – Itinéraire d’un maître / Itinerary of a Master

Alexeieff – Itinéraire d’un maître / Itinerary of a Master

Editions

(ed.) FR 2001 │ EN 2001

Le tour de l’animation en 84 films – Joyaux d’un siècle / The Tour of Animation in 84 Films – Jewels of a Century

Editions

(booklet) FR 2000 │ EN 2000
Free
PDF

Lettera A Un Maestro (Giorgio “Max” Massimino-Garniér)

Editions

IT 2000 │ ENG 2000
Coloriture

Coloriture – Voci, rumori, musiche nel cinema d’animazione

Editions

(ed.) IT 1995
Il movimento creato

Il movimento creato – Studi e documenti di ventisei saggisti sul cinema d’animazione

Editions

(ed.) IT 1993
Cartoons – Cento anni di cinema d’animazione

Cartoons – Cento anni di cinema d’animazione

Editions

IT 1988, 1992 │ FR 1992 │ EN 1994, 1995, 1999, 2003 │ ES 2003 │ FA 2007
Le Film d'animation

Le Film d’animation

Editions

FR 1985
La zuzzurellinea – Osvaldo Cavandoli e l’animazione

La zuzzurellinea – Osvaldo Cavandoli e l’animazione

Editions

(booklet) IT 1985
Woody Allen − Il comico piú intelligente e l’intelligenza piú comica

Woody Allen − Il comico piú intelligente e l’intelligenza piú comica

Editions

IT 1984, 1987, 1989, 1991, 1995 │ FR 1986, 1989, 1991 │ EN 1987 │ DE 1990, 1998 │ HU 1994 │ ES 1995
Due volte l’oceano – Vita di Quirino Cristiani, pioniere del cinema d’animazione

Due volte l’oceano – Vita di Quirino Cristiani, pioniere del cinema d’animazione

Editions

IT 1983
Pages d’Alexeieff

Pages d’Alexeieff

Editions

(ed., booklet) FR 1983 │ IT 1984
Appeso a una matita – Il cinema d’animazione di Guido Manuli

Appeso a una matita – Il cinema d’animazione di Guido Manuli

Editions

(booklet) IT 1983
Topolino e poi

Topolino e poi

Editions

IT 1978
Mel Brooks – L’ultima follia di Hollywood

Mel Brooks – L’ultima follia di Hollywood

Editions

IT 1977 │ FR 1980
Woody Allen

Woody Allen

Editions

IT 1976, 1979
Bruno Bozzetto – Animazione Primo amore

Bruno Bozzetto – Animazione Primo amore

Editions

IT 1972 │ HR 1998 │ EN 1998

FAQs

How did you get interested in animation?

I fell in love with film and its language when I was very young. I was curious and asked many questions to myself. What visual language could be more free than one that would provide images, without borrowing them from the real world? Also, if literature, music, painting counted story-less short forms (like respectively the sonnet, or the nocturne, or the miniature), why cinema shouldn’t? The result of my quest was the animated short film.

Did you ever make animated films?

I made some experiments in my twenties, and they were far from encouraging. Then I realised that writing animation history and criticism was creative and rewarding enough for me… I don’t mean economically rewarding.

What is your education?

I have an MA in law, but never was a lawyer. As an animation specialist, I had masters, not professors. People whom I admired, and whose example and opinions were meaningful to me. Alexandre Alexeieff, the artist who made A Night on Bald Mountain; Max Massimino-Garniér, the Italian screenwriter; Robert Edmonds, the Chicagoan film professor. And then books, books, books.

Is it true that you don’t like the research in the libraries?

No, it’s not true. As a scholar I did little research in the libraries only because few contracts, letters, newspapers witness the facts of such a neglected production. Primary sources were basically available only via field work. Therefore I chose the approach of the cultural anthropologists: I lived among animators, was on friendly terms with them, asked questions in confidence.

Your way of writing history was called “vasarian”. Do you feel that your relationship with animators has something in common with Giorgio Vasari’s familiarity with the Renaissance painters?

Giorgio Vasari was better than me – and Michelangelo, Raphael and the others were greater than my animators… Having said that, it is true that I mingled with animators from all over the world, interviewed them, visited them at home or in their studios, collected documents and information from their very hands. It’s research in life recording, it’s saving information before destruction. Some of those people became lifelong friends, like Bruno Bozzetto. Some were brothers/masters, like Alexandre Alexeieff. Most of them were warm acquaintances, people whom I admired for their integrity, intelligence, kindheartedness, generosity. When I go to an animation festival, I’m happy because I’ll be meeting some old friends, and I’ll be meeting some new friends as well!

 

Is it true that you don’t like Walt Disney?

Just the opposite: I adore Walt Disney. Without him we wouldn’t have animation at all. Without his experiments we would have a very poor visual and musical language of animation. But I am a film critic, and I must discuss Walt Disney the way I discuss (say) Alfred Hitchcock, Jack Warner, or Greta Garbo. About him, instead, there is kind of a religion: either you are a believer, or you are a renegade.

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