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...self-conscious sci-fi playfulness had a hysterical go-go edge. Just as children's toys had become plastic, throwaway items after World War II, grownups' furniture became overtly disposable. Frank Gehry's democratic cardboard-and-pressed- fiber chairs (1972) are delightful, but did anyone outside of an Antonioni film ever enjoy sitting on an inflatable plastic couch or wearing a paper dress? American designers today are again devoting themselves to grownup toys intended to make their owners feel science fictional. After a night playing with the food processor, the CD player and the PC, who wouldn't feel...

Author: /time Magazine | Title: Design: The Shape of Things to Come | 12/23/1985 | See Source »

...receive an Oscar, the category has honored both landmark art (The Bicycle Thief, Rashomon, Through a Glass Darkly, 8 1/2) and sophisticated diversion (Seven Samurai, Z, The Discreet Charm of the Bourgeoisie, Day for Night). The Academy might err on the side of aesthetic conservatism; trailblazers such as Godard, Antonioni and Fassbinder were never so much as finalists for the prize, and directors like Bergman and Truffaut were cited years after their films had won critical acceptance. But in general the foreign Oscar was a distinguished overseas cousin to the Best Picture award...

Author: /time Magazine | Title: Cinema: Handicapping the Foreign Oscar | 3/25/1985 | See Source »

...Irish rubber baron who leaves his mistress, played by Claudia Cardinale, is a mystical trek through the Peruvian jungle that took four calamitous years out of Director Herzog's life and won him the best director prize. The official competition also boasted new films from Michelangelo Antonioni, Jerzy Sko-limowski and Jean-Luc Godard. Antonioni's Identification of a Woman is hypnotic and erotic, and it earned him the festival's special 35th-anniversary citation. The screenplay prize went to Skoli-mowski for Moonlighting, about four Poles in London building a new home for their boss back...

Author: /time Magazine | Title: Cinema: Movie Marathon at Cannes | 6/7/1982 | See Source »

Vitti and Branciaroli, two handsome and appealing actors, follow Antonioni's cue. There is little passion in their voices, even when the queen and Sebastian over come their initial distrust and become lovers to the death. No surprise here: Antonioni is the man who made aleatory music out of monotone in L'Avventura. But there is feeling aplenty conveyed through the vibrant orchestration of color. Each character is given his own "aura"-a kind of placenta of color that indicates his passion or humor. And every time the queen's mood changes, her surroundings change too, like...

Author: /time Magazine | Title: Cinema: Raise the Colors | 9/28/1981 | See Source »

...film, Antonioni has reconciled the past and the present of three media. His video experiment looks like prehistoric television but manipulates tomorrow's techniques. His film is a fairly faithful adaptation, yet it departs radically from even the most modern movie strategies. The acting in this traditional theater piece is modishly austere and alienating. Because of this last contradiction- because The Mystery of Oberwald does not "work" on the accepted narrative level-the film may be scorned or, worse, dismissed. That would do this tireless innovator an injustice. Antonioni will be 70 next year, but he has suggested...

Author: /time Magazine | Title: Cinema: Raise the Colors | 9/28/1981 | See Source »

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