Ferrania 16mm nitrate film(c.1947–1955)

Ferrania’s production of 16mm nitrate film is the result of several different historical and technological factors.

The first was the transition from cellulose nitrate to triacetate film base from the end of the 1940s, into the early 1950s. This period of slow transition proceeded at variable rates in different countries. For example, in 1948, Eastman Kodak estimated three years for the complete conversion away from using cellulose nitrate film, while the manufacture of nitrate film ceased in Spain in 1952, but was still used in filming and within laboratories (and sometimes for projection) up until 1954. In Italy, a 1949 law established safety rules for handling nitrate in storage and shipping, and forbade the use of nitrate film in projection. Despite this law, the passage was gradual and took some years. While the use of nitrate film for shooting and projection ended relatively swiftly, it endured for significantly longer within film laboratories. For films produced during this period, it is quite common to find intermediate printing materials on nitrate film base, even if the original camera negative and/or the distribution copies were already triacetate. This use of nitrate film base gradually decreased, as the supplies from the film manufacturers were depleted. Ferrania started the production of triacetate base in 1951, but their production of nitrate was not stopped until 1956 (Salmoiraghi, 1992: p. 194). 

During the transition, the use of nitrate film base for 35mm was quite common, yet surprisingly, it was also used for 16mm. The 16mm format was generally intended for amateur, semi-professional and domestic use, and since its introduction in 1923, had been produced on inflammable film base (mainly cellulose diacetate and triacetate). In the particular case of Ferrania 16mm nitrate film, its extended production was only permitted because the stock was confined to use in professional laboratories. Examples of Ferrania 16mm nitrate films are to be found in film archives that have acquired collections from film laboratories – these include San Paolo Film, Technospes, Technostampa and Spes (conserved at the Cineteca Nazionale, and other Italian film archives). It has been established that more than 300 titles were produced using 16mm nitrate film. Even though a range of other laboratories used this stock, the most prominent by far, in the volume and regularity of its use, was the San Paolo Film laboratory. 

The story of San Paolo Film began in 1938, when Don Giacomo Alberione (an Italian priest and publisher, and founder of the Society of Saint Paul) established Parva Film, and some years later, the Romana Editrice Film (REF). These two societies later merged into San Paolo Film. The new society was supposed to be both a production house and a distribution company, but by the turn of 1946, it was clear that 16mm distribution was its main and most profitable activity. The circuit for the distribution of theatrical films on 16mm reduction prints in Italy was exceptionally large and the main market, beside cine clubs and schools, were small parish cinemas called cinema parrocchiali. Naturally, San Paolo Film focused on this market, which was dominated by catholic institutions. From 1946, San Paolo started to acquire 16mm distribution rights for the reduction and dubbing of titles from other Italian and international production companies (Lauritano, 1978/79: p. 97; Giuliani & Negri, 2011: p. 35). The investment in 16mm distribution was successful and San Paolo became the leading player in this market. At its peak in 1965, San Paolo released almost two 16mm titles per week, with a catalogue of 1,071 titles in total (Lauritano, 1978/79: pp. 137, 208, 217). To sustain this huge activity and reduce costs, right up to the mid-1950s, they employed nitrate film in their laboratory as a cheaper alternative to triacetate. It is believed these 16mm printing elements were produced using existing stockpiles of nitrate film, rather than newly manufactured nitrate base.

The use of 16mm nitrate film was limited to 16mm intermediate material (printing negatives) and it is very unlikely 16mm nitrate film was ever used for distribution prints. It is possible some positive check prints for internal lab use were made on 16mm nitrate film, but following the 1949 law, the Italian government only authorized 16mm distribution on safety support.