| Summary: | The essay aims to analyze the interest, from the 1960s, of Italian national television to productions for educational purposes. These films in their writing and production phase saw some art historians actively involved, contributing to make biographical anecdotes within the screenplays. A real case-limit is represented by Caravaggio: starting from 1941, several directors are interested inthe biography and the works of the painter, helping to restore that figure of the 'damn artist' which isthe distinctive mark of Michelangelo Merisi's 'character'. At the same time the criticism carried on arediscovery of the 'painter' Caravaggio and his figurative innovations: the filmic and artistic interestsmeet and clash at the same time, giving rise to a theoric debate on the cinematographic nature of the Caravaggio's work.
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