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Per natura sono un resiliente. Intervista a Giannalberto Bendazzi

In occasione dell’uscita del monumentale e definitivo Animazione. Una storia globale (Utet) abbiamo avuto modo di incontrare Giannalberto Bendazzi, icona e nome essenziale per lo studio e la comprensione dell’animazione. Il suo impegno in questo campo ha fatto sì che l’animazione acquisisse finalmente visibilità e spessore sul fronte storico-critico-accademico, ed ha permesso ad alcune cinematografie di ritagliarsi il giusto spazio all’interno della fluviale Storia del cinema. Incontrarlo è l’occasione ideale per fare il punto sullo stato dell’animazione oggi e su come Bendazzi ha avuto modo di viverla in prima persona.  

Da poco è uscito anche in Italia il suo monumentale lavoro Animazione. Una storia globale, edito da Utet. Sebbene l’origine di questo lavoro sia Cartoons, che ha avuto una prima edizione nel 1988, tradotta in tutta il mondo, credo si tratti di qualcosa di mai visto, soprattutto per l’approccio universale e trasversale con cui l’animazione diventa protagonista assoluta. Partiamo da qui. Perché scrivere un libro come questo?

Giannalberto Bendazzi: Questa è una bella domanda perché non ho mai trovato una risposta neanche io. Forse per una mancanza di collegamento della mia persona con il tempo che vivo. Io non appartengo al XX secolo, che è il secolo del denaro e della commercializzazione, per questo ho voluto fare qualcosa che si sarebbe potuto fare, che so, nel 1300. Quando avevo diciannove anni mi sono reso conto che avevo non un continente ma un pianeta da esplorare, in cui qualcuno era già sbarcato ma subito fuggito, con qualche impressione. Io volevo fare una storia e quanto più vai avanti a incuriosirti, tanto più vai avanti a esplorarla. In questo modo ho passato tutto il mio tempo libero a studiare, cercare, aggiornare. All’età di 61 anni mi sono accorto che avevo l’ultima possibilità per aggiornarlo e renderlo in qualche modo il punto di partenza per qualsiasi futura esplorazione nel mondo dell’animazione. Proprio perché conoscevo gli animatori: ho viaggiato tanto e conosciuto tantissimi animatori in tutto il mondo. Ma da quando decisi di lavorare a questo libro mi è successo di tutto, ho avuto problemi di salute, di famiglia. Ma sono resiliente per natura e questo mi ha permesso di portare a termine questo progetto titanico.  

La critica e lo studio dell’animazione sono ancora un settore che fatica ad affermarsi come invece successe con il cinema dal vivo anni fa. Tra i critici c’è ancora chi fa molta confusione, mostra diffidenza e sottovaluta linguaggio e tecniche dell’animazione. Cosa vuole dirci a riguardo?

Giannalberto Bendazzi: L’animazione è amata da coloro che amano l’animazione e detestata da chi ama il cinema dal vero. È una specie di antipatia di pelle, ancora oggi si fa fatica a capire che l’animazione è, non dico arte, ma cinema. Prova a chiedere a chiunque qual è il primo film italiano a colori: in tanti ti risponderanno Totò a colori o qualche film finanziato dal Vaticano negli anni Cinquanta, nessuno ti risponderà La rosa di Bagdad e I fratelli Dinamite. C’è una sostanziale consapevolezza, quasi istintiva, che animazione e cinema sono due cose diverse. E forse è vero: l’animazione nasce come linguaggio il giorno che viene presentato in una sala cinematografica Fantasmagorie. Ma perché Fantasmagorie è rivoluzionario? Non perché è il primo film a usare l’animazione ma perché usa quello che fino ad allora era un effetto speciale, far muovere qualcosa con lo strumento del passo uno. Quell’effetto speciale diventa un linguaggio. E con quel linguaggio puoi finalmente fare un’opera d’arte, un documentario, qualsiasi cosa. C’è la ricerca di luce, colore, musica, colori, tutti impastati insieme finalizzati a un’opera quadridimensionale, poiché si aggiunge il tempo. Pensa al flipbook: non è cinema ma è animazione.  

Tra l’altro credo che l’animazione, a differenza di altre forme d’arte, sia un campo che ha ancora molto da dire. Quando vedo un film animato riesco sempre a farmi stupire e a rendermi conto che c’è un universo da raccontare e mettere in scena.

Giannalberto Bendazzi: Assolutamente.  

Lei è uno degli studiosi più importanti a livello internazionale e ha sempre sostenuto l’animazione anche quando, decenni fa, non aveva una propria dignità intellettuale. Ha lavorato a due volumi che esulano dall’animazione, le monografie su Woody Allen e Mel Brooks, ma il resto della sua produzione critica è incentrata appunto sull’animazione. Perché l’animazione e non altro? Cos’ha l’animazione che altre forme artistiche non hanno e cosa l’ha spinta a dedicarci così tanto di sé?

Giannalberto Bendazzi: Sono uno dei pochi che ha amato al pari cinema d’animazione e dal vivo. La scelta di scrivere e studiare l’animazione deriva dal fatto che fosse un settore poco conosciuto. È una scelta di campo molto celebrale. Per un certo periodo mi ero dedicato allo studio del cinema comico e al concetto di comico. Quando mi offrirono di scrivere un Castoro cinema scelsi Woody Allen perché nessuno ne aveva mai scritto. Ho avuto la tentazione di scrivere un libro su Frank Capra e su René Claire ma per l’animazione valeva la pena che mi dannassi l’anima perché o lo facevo io o non lo avrebbe fatto nessuno. Dagli anni Settanta mi sono reso conto che il mio mestiere era più quello dell’archeologo preventivo che quello dello storico del cinema.  

Oggi l’animazione sta vivendo un ottimo periodo anche se molte cinematografie restano un po’ ai margini dell’attenzione pubblica – pensiamo alla Corea del Sud, uno dei paesi produttivamente più importanti, ma quasi invisibile nell’immaginario spettatoriale occidentale. Vuole dirci qualcosa sullo stato attuale dell’animazione contemporanea, sui paesi emergenti, in particolare l’area asiatica?

Giannalberto Bendazzi: La cosa interessante dell’area asiatica è che le cose più nuove, stimolanti, autonome e attraenti sono realizzate nel Medio Oriente. Evidentemente in quei paesi spesso martoriati dalla guerra, gli animatori si sono resi conto di avere uno strumento tutto sommato facile che gli permetteva di realizzare qualcosa e dire qualcosa. Se invece ci spostiamo più a Oriente, escluso Taiwan, abbiamo un mercato molto forte. Pensa alla Cina, che produce centinaia di migliaia di prodotti atti a preservare la cinesità per evitare che i bambini cinesi diventino piccoli americani.  

Andiamo un po’ più nel dettaglio. Sono sempre rimasto stupito di come l’animazione prodotta in Francia abbia saputo costituirsi come industria, attenta al pubblico ma anche al botteghino. Non si può dire lo stesso per l’Italia, sebbene ci siano segnali incoraggianti (mi riferisco, ad esempio a Gatta cenerentola e al ritorno di Enzo D’Alò con Pipì, Pupù e Rosmarina in Il mistero delle note rapite). Vuol dirci qualcosa a riguardo?

Giannalberto Bendazzi: C’è la famosa volontà politica. Trent’anni fa, in Francia, il ministro Jack Lang capì che era necessario utilizzare lo strumento della cultura e dell’animazione per fini educativi. Questo permise di aumentare i finanziamenti economici e sviluppare innanzitutto il fronte tecnologico atto a realizzare l’animazione. Ancora oggi gli investimenti statali sono sostanziosi in Francia. Se non ci fosse questa volontà politica e statale di salvaguardare l’educazione dei giovani tramite il cinema, l’animazione francese faticherebbe molto.  

Quindi c’è una componente politica. E perché in Italia non c’è?

Giannalberto Bendazzi: Ma perché l’Italia è un paese che non si rende conto delle enormi potenzialità che ha. Finché l’Italia non diventerà un paese serio, non avrà un’industria dell’animazione seria.  

I miei studi sono per lo più incentrati sull’animazione giapponese. Riguardo i cosiddetti anime lei crede che possano avere (o abbiano avuto) un ruolo decisivo nel mutare la percezione che il pubblico ha dell’animazione? Trovo significativo, ad esempio, che alla Quinzaine des Réalisateurs vedremo il nuovo lungometraggio di Mamoru Hosoda, Mirai (nel 2014 era stato presentato l’ultimo film di Isao Takahata, La storia della principessa splendente).

Giannalberto Bendazzi: Dipende tutto dal mercato. Se continuiamo a essere dipendenti dagli Stati Uniti continueremo a credere che l’animazione moderna è Shrek. Io sono convinto che il prodotto animato giapponese destinato alla televisione sia stato un gran bene per l’Italia, anche se esagerato nelle quantità, nelle proposte, negli adattamenti da dilettanti. Il fatto che i bambini della generazione successiva alla mia si siano innamorati dell’animazione giapponese televisiva ha sbloccato la vecchia idea dell’Italietta post risorgimentale per la quale è bravo solo Raffaello Sanzio. Quei ragazzi che hanno l’età di Marco Pellitteri sono usciti da un’infanzia molto più arricchente e liberante della mia. Ho avuto studenti negli anni Ottanta i quali leggevano con la massima facilità il cinema d’animazione perché erano cresciuti con gli anime televisivi.  

Se dovesse fare un confronto sintetico fra i grandi mercati dell’animazione (USA, Giappone, Francia e Corea del Sud) da un punto di vista produttivo, estetico, concettuale cosa ne ricaverebbe circa lo stato attuale dell’industria dell’animazione?

Giannalberto Bendazzi: Un mio grande dubbio è come abbiano fatto i giapponesi e a ruota i coreani a creare un enorme mercato dell’animazione senza costruire coscientemente un personaggio eponimo e sullo star system. Bugs Bunny è immediatamente riconoscibile e questo ha permesso di creare un mercato. Con i giapponesi e i coreani no. Non saprei davvero risponderti, ti risponderei con un’altra domanda. Ti rispondo con una riflessione che mi riguarda. Io non credo di aver fatto un buon lavoro con questo libro (Animazione. Una storia globale, ndr). Questo è un libro lineare, chiaro e dalla struttura cronologica. Io volevo fare una storia dei flussi. Noi dipendiamo dal flusso. Quando pensi all’animazione in Italia pensi a Disney e Pixar. Esistono diversi flussi storici: quello statunitense, quello russo, quello giapponese. Flussi che hanno influenzato in maniera indelebile il mercato e la percezione dell’animazione nei vari paesi. Sarebbe stato interessante analizzare questi flussi.  

Cosa pensa delle tante serie televisive in computer grafica rivolte ai piccoli spettatori? Dal punto di vista strettamente grafico, nonostante i vantaggi della cgi, sembra di assistere in molti – troppi – casi a una sorta di degenerazione della limited animation, ma in salsa digitale e appiattita, omologata. Volendo fare un confronto, le produzioni della Filmation e della Hanna-Barbera degli anni Sessanta, Settanta e Ottanta cercavano di limare questi limiti e di alzare l’asticella della qualità (penso soprattutto ai fondali della Filmation).

Giannalberto Bendazzi: La storia dell’animazione, così come quella del cinema, è una storia di inseguimenti fra le innovazioni tecnologiche e le capacità artistiche. Quindi non credo abbia senso fare un confronto tra Peppa Pig e gli Antenati. Nel caso avrebbe senso fare un confronto fra prodotti appartenenti agli stessi contesti. Io non la chiamo limited animation, non trovo che questo non sia il lessico corretto. Quella della limited animation era animazione stilizzata perché si adattava al disegno stilizzato che la contraddistingueva.  

Ma lei crede che ci sia una sorta di deriva nell’utilizzo della cgi?

Giannalberto Bendazzi: Da un lato, direi di sì, perché si ha sempre a che fare con la moda. Quindi si cerca di essere allineati con quello che è l’andamento generale. Dall’altro lato, ti direi di no, perché finché non si fa sperimentazione tecnologica non si arriva da nessuna parte. In linea di massima la ricerca sui software da usare in campo animato non è molto mobile perché non ci sono teste forti che impongono il loro punto di vista, come hanno fatto Miyazaki e Takahata. 

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