Strategie comunicative e intellettuali nell’Agip e nell’Eni di Enrico Mattei.
Le vicende del film di Ivens commissionato dall’Eni di Enrico Mattei, Meridione. Ente Nazionale Idrocarburi: Profile of a State Corporation. La via del petrolio, intervista a Bernardo Bertolucci, Pier Paolo Pasolini, Centro Studi Casarsa. Nuova rivista storica, XCIV 2 (2): 465–500.īertolucci, Bernardo 2013. All’origine della politica energetica dell’ENI in Iran: Enrico Mattei e i negoziati per gli accordi petroliferi del 1957.
Annali d’Italianistica 32: 329–350.īucarelli, Massimo. United We Drill: ENI, Films, and the Culture of Work. Guerra fredda e consumi di massa tra Italia, Stati Uniti e Terzo mondo (1945–1973). Minneapolis: University of Minnesota Press.īini, Elisabetta. Minneapolis: University of Minnesota Press.īarrett, Ross, and Daniel Worden, eds. From Isfahan to Ingolstadt: Bertolucci’s La via del petrolio and the Global Culture of Neorealism. Chicago: University of Chicago Press.īanita, Georgiana. The Architecture of Vision: Writings and Interviews on Cinema. Amsterdam: Rodopi.Īntonioni, Michelangelo. The Ethical Dimension of the Techno-Scientific Enterprise, Poznan Studies in the Philosophy of the Sciences and the Humanities. These outdoor shots show the canal as the nexus of the many contradictions that oil exploration and commerce created, leaving the adjacent countries suspended between their archaic past and dawning progress. During the shooting of The Oil Route, Bertolucci carved out some time to film The Canal, a 12-minute color short on Suez and the oil tankers navigating through it, from the viewpoint of the local population. The first part, titled ‘The Origins’, is about the places in Iran where oil is being extracted the second part, titled ‘The Journey’, documents the transport of crude oil on a tanker from the Persian Gulf through the Suez canal to Genoa the third part, titled ‘Across Europe’, follows the oil’s journey in a pipeline from Genoa to Ingolstadt, where refineries are. Bertolucci developed the idea of making a three-part documentary, each part 50 minutes long.
One of these was Bertolucci’s The Oil Route (1965), in which the director, by his own admission, strayed from the strict documentary norms of ‘techno-films’ by tapping into personal creativity, deflecting its focus from the technological to the human. In fact, ENI’s cinema office transited quickly from documenting the most technical aspects of oil exploration to creating culturally layered films that seemed to use corporate activity as a springboard. The magazine’s editorial policy, so attentive to social and cultural issues, ended up affecting ENI’s cinema production. ENI’s communication strategies, however, went beyond mere corporate propaganda through the founding of a culture magazine, Il Gatto Selvatico (The Wildcat), and an in-house cinema production department.
To this end, Enrico Mattei, ENI’s first president, founded a communication department to oversee its cross-media production. For years after its foundation in 1953, ENI relied heavily on print and visual media to spread its corporate culture message within and without Italy. The catchphrase encapsulates the company’s philosophy as well as its synergic harmonization of seemingly distant worlds-both culturally and geographically. ‘The culture of energy, the energy of culture’ is the recurring motto of ENI, Italy’s state-owned oil and gas enterprise.
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