In the second post-war, when Ragghianti started his experience of critofilm, the documentary on art lived a period of liveliness. Everywhere there was a deep confidence in the aesthetic renewing offered by the cinema and in Europe, many important cineastes had signed and signed documentaries on art, followed by discussions and debates about the relationship between visual arts and cinema.
The cinematographic approach of Ragghianti remained anchored to a critical-interpretative dimension. With the word critofilm, coined by himself, Ragghianti wanted to realize a “criticism of art (interpretation and reconstruction of the process of the art work and of the artist) made through cinematographic means instead of words”.
Ragghianti was not the only historian of art to join the cinema in that period (we can remember Roberto Longhi, for instance). Unlike his colleagues, he went beyond the traditional role of expert or author of the text, taking the full responsibility of the film’s construction and arriving to produce the critofilm after a careful deliberation upon the theory of the cinema started in the early thirties, together with his activity of historian and theorist of art.