Il sistema culturale integrato Restart e il ruolo del patrimonio intangibile: il caso dell’audiovisivo

Il saggio propone un’analisi critica del concetto di sistema culturale integrato, così come definito nell’ambito del progetto di ricerca RESTART, dedicato alla valorizzazione sostenibile del patrimonio nelle Aree interne. Dopo una riflessione sui principali approcci teorici al patrimonio culturale in contesti periferici e marginali, viene posta particolare attenzione alla necessità di connettere beni tangibili e intangibili in una rete culturale policentrica, capace di attivare processi di sviluppo locale durevoli e inclusivi. In tale cornice, il contributo esplora l’impostazione metodologica proposta da RESTART, che individua nel sito archeologico il fulcro attorno al quale articolare una rete culturale allargata, valorizzando non solo l’eredità materiale e immateriale del territorio, ma anche il suo potenziale ancora inespresso. Il patrimonio audiovisivo è assunto come caso esemplare della dimensione transdisciplinare del progetto: risorsa intangibile in grado di contribuire alla costruzione dell’immaginario territoriale e di generare nuove economie culturali, l’audiovisivo rappresenta una leva strategica sia per il rafforzamento dell’identità locale, sia per l’attivazione di dinamiche produttive e partecipative legate al sito archeologico. This essay offers a critical analysis of the concept of an integrated cultural system, as developed within the framework of the RESTART research project, which focuses on the sustainable enhancement of cultural heritage in Italy’s inner and marginal areas. The first section provides a theoretical overview of key approaches to cultural heritage in peripheral contexts, underlining the structural vulnerabilities and socio-economic challenges that such territories often face. Against this backdrop, the essay argues for the strategic need to adopt models of territorial regeneration based on the construction of plural and interconnected heritage networks. Particular attention is given to the synergy between tangible and intangible heritage as a necessary condition for activating inclusive and durable processes of local development. Rather than isolating individual cultural assets, the RESTART model promotes a systemic vision in which different heritage layers – archaeological, ethnographic, natural, audiovisual – are integrated into a single framework aimed at enhancing the identity and attractiveness of a territory. Within this integrated model, the archaeological site is conceived as the gravitational center around which the broader cultural network is articulated. Far from being treated as a static relic of the past, the archaeological site is reimagined as a dynamic catalyst for community involvement, knowledge production, and creative enterprise. Its role is not only symbolic but functional: it becomes a “cultural engine” capable of connecting other territorial assets through thematic, spatial, and narrative lines. In this context, audiovisual heritage is introduced as a paradigmatic example of RESTART’s holistic and transdisciplinary approach. Often overlooked in traditional heritage strategies, filmic and televisual texts – whether historical documentaries, cinematic representations, or contemporary productions – are reconsidered as cultural resources capable of shaping collective imaginaries and generating socio-economic value. The essay explores how audiovisual media can support both the valorization of existing heritage and the activation of latent potential. For instance, the transformation of an archaeological site into a filming location – prior even to its inclusion in cine-touristic circuits – can attract creative industries, promote regional funding schemes, and engage local professionals such as writers, technicians, and cultural operators. In this perspective, audiovisual heritage serves both as a vehicle for cultural memory and as a tool for future-oriented development. It exemplifies the capacity of integrated cultural systems to move beyond static conservation, towards dynamic forms of heritage-making that are deeply rooted in place, yet open to innovation, collaboration, and cross-sectoral dialogue.