The exhibition organized by the Municipality of Genoa stems from the desire to enhance and make known three important realities linked to cinema in the city: the Cineteca DW Griffith, founded by Angelo Humouda, the Collection named after Stefano Pittaluga and the Cine Ciak Collection, respectively centered on film heritage, film technology and objects
Three collections, largely never shown to the public, extending from the origins of the history of cinema to today, and a symbol of a “spontaneous” collecting that combines historical research and cinephile passion. It is from this passion - strictly plural, as the title explains - that the exhibition tells the historical and cultural development, interpreting the richness of the collections through a path that favors the social, cultural and, indeed, passionate impact of cinema. In fact, since its appearance, it has not limited itself to populating the world with stories and images, between the narration of reality and escapes in the imagination, but has also profoundly changed the way we see and know ourselves and what surrounds us.
The relationship between images and spectators is therefore the pivot around which the exhibition itinerary develops, which begins by reconstructing, thanks above all to the magic lantern, the origin of the modern passion for "luminous visions", to continue with the history of technology , professional but also amateur: a story, the latter, which bears witness, among other things, to the precocious desire to make cinema also a tool for personal narration and memory. From the "heaviness" of the means of production we then move on to the immaterial flow of the film and to the moment of vision which, born as a collective ritual, is now evolving towards new practices and new models, more individual and subjective. The exhibition closes with a selection of collectibles inspired by famous films, from the 1930s to today: a tangible memory which, among other things, contributes to expanding the experience of the film and the power of the cinematic imagination. It is an ideal culmination of the passion that can unite films and spectators, and which tells, on an imaginary level, of the transition of cinema from a technological device to a social device, from industrial practice to cultural and emotional practice.