This week is considered decisive for a number of internal junctures in the Italian audiovisual sector, with the election of the four members of the RAI Board of Directors and the appointment of the person who will lead ANICA. On this last point, the General Council of the National Association of Digital Audiovisual Cinematographic Industries has just expressed itself.
At the end of the path envisaged by the Confindustria Statute, the deliberating body – composed of the Union of Film Producers, Publishers and Distributors, Technical Enterprises, Digital Publishers and Creators, Audiovisual Media Publishers, International Exporters and Member Associations – today designated Alessandro Usai as successor to the outgoing president, Francesco Rutelli, who, at the outcome of the favorable ballot, was congratulated and, in turn, thanked for “the enormous work done over the years of his term of office, which led to the doubling of the Associates, the Unions, the membership of Cartoon Italia and the achievement of important results for the Association and for the entire cine-audiovisual industry.”
Alessandro Usai, born in 1971, has been the Ceo of Colorado Film, one of Italy’s leading production companies, famous for films such as those of Gabriele Salvatores, one of the founders of the production company, and for the TV show “Colorado,” for a good 14 years. It is among the very few in the audiovisual industry to make “horror,” “thriller,” “action,” and “family comedies,” and has produced international hits such as “The Tear Maker,” which is still the most viewed “made in Italy” film on Netflix. The entrepreneur, before coming to Colorado, held various senior roles, gaining credibility in the industry, both in the general management of Cinecittà Holding and in the administration of Mikado Film (De Agostini Group).
The newly elected president states in the notes, “I thank for the trust placed in me, hoping that it will be confirmed by the Assembly. I intend to make my experience gained in so many areas of the industry available to members and the entire sector. I would identify as my first objective the promotion of the centrality of the film and audiovisual industry for the great value it generates, both on the economic and employment front and for the role it plays in the construction of the contemporary imaginary and identities.”
Photo credits: Pxhere
