Word: antonioni
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Dates: during 1960-1969
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...advice is to go merrily, merrily. For "the deepest insights sometimes emerge from a joke, a gag, or a slap in the face," says Argentina's Julio Cortazar, author of the highly praised fantasy-novel Hopscotch and of Blow-Up, the short story turned hit movie by Michelangelo Antonioni...
...French films have a flair for love, the Italian cinema has a zest for decadence. Most major Italian directors have their own highly personal vision of spiritual and psychological deterioration, whether it be as flamboyant as Fellini's, as operatic as Visconti's or as brooding as Antonioni's. Now Salvatore Samperi, 25, continues the tradition with Grazie Zia, a bit of caustic surrealism that dazzles with the energy of youth while it is disappointing with excesses of inexperience...
...land of Michelangelo, Garibaldi and the Medicis there reigns a vast and unusual variety of contemporary heroes. The Italians idolize Grand Prix drivers, artists, novelists and occasionally Sicilian banditti. They fall barely short of adoring Nino Benvenuti, the boxing champion. They lavish attention on their celebrated movie directors-Antonioni, Fellini, Rossellini. And who, of course, could overlook Gina or Sophia...
Directors like Antonioni recognize the death of God, and say man has to take it from there; but Bergman is trying to discover how to live at least with His memory. In 1960 Bergman wrote...
Basically, it is music for the man who likes the plays of Samuel Beckett, the paintings of Marcel Duchamp and the films of Antonioni. It begins in a mood of tension: excerpts from Claude Levi-Strauss's writings on Brazilian mythology are read against a highly dissonant background. In the haunting second part, the name Martin Luther King is recited and sung over and over again, the syllables spilled out here, squeezed there, so that the name is uttered in an endless variety of permutations. In the impassioned third section, the vocalists speak and sing excerpts from Beckett...