Among the most important in the world for its wealth of heritage and the multiplicity of its scientific and popular activities, the National Cinema Museum owes its uniqueness to the peculiarity of the exhibition layout. Housed in the Mole Antonelliana, symbolic monument of Turin, the Museum is spiraling upwards, on multiple exhibition levels, giving life to a spectacular presentation of its extraordinary collections and retracing the history of cinema from its origins to the present day, in a suggestive interactive itinerary. The setting was designed by the Swiss set designer François Confino, taking advantage of the peculiarities of the location; the museum develops in a spiral upwards on several exhibition levels that retrace the history of cinema from its origins to the present day. In the Archeology section of the Cinema various optical machines and devices that are part of the birth of the cinema are on display. The Temple Hall, center of the museum, is surrounded by exhibition areas dedicated to the great genres of cinema history; a specific area is dedicated to Cabiria, a masterpiece of Italian silent cinema, and another to Turin, the city of Cinema. The Cinema Machine shows the different components and phases of the film industry: production studies, direction, screenplay, actors and star system, stage costumes, set design, storyboards, and the cinema. From the Hall you enter the ramp that unrolls to rise towards the dome, like a film: the path is home to temporary exhibitions. The Museum is also a hub of cultural initiatives, among the most important at national and international level, carrying out cutting-edge research on the conservation of materials and the history of cinema, an extensive program of restoration, publishing initiatives, film reviews, meetings with authors and protagonists of the cinema, educational programs. The first project to set up an Italian cinema museum dates back to June 1941, when the Piedmontese historian and cinema scholar Maria Adriana Prolo (1901 and 1991) began to realize the idea, under the auspices of the fascist regime, already the architect of the construction of the Roman center of Cinecittà. With the artistic support of some cinema pioneers, including the Turin-born director Giovanni Pastrone, who in 1914 directed the first Italian mute kolossal in Turin, and with the journalistic support of Francesco Pasinetti (of the then magazine Si gira) and Alberto Rossi on (La Gazzetta del Popolo), came the first financial contributions for the purchase of memorabilia and documents of the history of Italian cinema. The material was initially stored in a room of the Mole Antonelliana, granted by the Municipality of Turin. In 1952, the nascent museum participated in one of the first experimental television broadcasts, providing materials and advice. These activities stimulated the interest of the public and scholars on the collection of memorabilia, which, however, could not find a permanent exhibition. The initial idea of setting up the museum inside the Mole Antonelliana of Turin faded in 1953, due to a whirlwind that seriously damaged the building. In the same year, he arrived in Turin Henri Langlois, founder of the French cinematography, and the Museum of Cineme in Paris, who met journalists and municipal councilors and persuaded them of the need to provide adequate accommodation to the collected heritage. On July 7, 1953, the Association of the Cinema Museum was officially established, which had among its founders the director Pastrone (at the time under the pseudonym Piero Fosco), the screenwriter Arrigo Frusta, the writer and film critic Mario Gromo, the architect Leonardo Mosso, Carlo Giacheri and journalist Bruno Ventavoli.