Themes
 
The voice Themes  corresponds to fives photographic sections. Each section concerns a specific subject matter (Rome, South, Sardinia, Emilian Itineraris, Fellini) and represents an emblematic aspect of Pinna's photographic work.
 
 
 Rome 
Culture, fashion, politics, young people, show biz, popular habits, jobs, daylife and nightlife: a diary lasted thirty years, made of powerful photos which underlines the contrast of a city with a glamorous past and a confusional present. Through Pinna's eyes the perfect portrait of Rome, microcosm and paradigm of all the postwar western capitals, facing their crises, the lack of ethic values.
  

South 

Pinna's vision of the southern Italy has nothing to do with the common idea of a depressed area waiting to be colonnized by the industrial progress. The South, the pureness of its landscape, the dignity of its people is an empathetic representation of a humanity still linked to the ancient roots, indifferent to the seductions of modern civilization.
He's point of view is objective, interested in the documentation of habits and social rites he felt destined not to survive.
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Rome
 
 
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South
 
 
 
Fellini
 
 
 
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Sardinia 
 
 
 
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Emilian itineraries 
 
 
 
 
 
 
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Sardinia  
This section illustrates Pinna's work for the photobook Sardegna, una civiltà di pietra (Rome 1961), with a text by the writer Giuseppe Dessì and explanations written by the anthropologist Antonio Pigliaru. The return of Pinna in his native land  gives him a chance to go back to his past to recuperate memories and the never forgotten linkeage with his wild isle.    

Emilian Itineraries 
This group of pictures represents the best of Pinna's production of the late years (1974-1976), under the commision of Emilia-Romagna region. In these photos Pinna seems to recover his neorealistic black and white taste intense and essential with the addition of an anthropological approach, as a result of the lesson learnt following the anthropologists in the South of Italy. The people and the quiete landscape of Emilia-Romagna gave Pinna the impression of a reached balance between contryside and industrial civilization. 

Fellini   
Even if Pinna is mostly known as the set photographer for the Fellini's movies, we must say that in reality Pinna's role was that of a freee-lance. Indipendent and autonomous photographer, out of the rigid laws of movie production, he was able to move freely in the set and so, to give a personal interpretation of Fellini's phantasmagoria.

 
 
 
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