Abstract

The article moves within two frames of reference: production studies, in particular the historical modes and culture of film production, and the archival history of primary sources. Specifically, it sets out to make a critical exploration of ANICA sources as part of the Prin project Modes, Memories and Cultures of Film Production in Italy (1949-1976). These sources consist of three archive collections: the historical archive; publishing and press materials; and the Italian cinema archive [Archivio del cinema italiano]. At the basis of the article is the conviction that archive-keeping can no longer be viewed as an auxiliary discipline but that it should be seen as heuristic infrastructure with and for cinema historiography