Word: corrado
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Dates: during 1960-1969
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Last week, when Pope Paul named 27 new cardinals, thereby raising membership in the college to an alltime high of 120, he fulfilled this prospectus to the letter. Archbishops Pierre Veuillot of Paris and Corrado Ursi of Naples-cities that over the centuries became accustomed to having cardinals-were elevated to the purple, along with 14 Vatican diplomats and curial officials. Archbishop Justinus Darmajuwana, 52, of Semarang, becomes the first Indonesian to sit in the college; German-born Archbishop Jose Clemente Maurer, 67, of Sucre will be the first Bolivian. Berlin's Archbishop Alfred Bengsch, who by choice lives...
...plot elements are sparse. Giuliana, who has recently attempted suicide in a car accident, falls in love with Corrado, an associate of her husband Ugo in the chemical industry. Corrado seduces Giuliana in his hotel room, and they break up immediately afterwards. As the film ends, none of the characters has changed significantly, no important action has taken place, and no moral lesson can be drawn...
...gives us long shots of the chemical factory, filled with confusing detail, for Giuliana remains detached from modern life and very confused by it. But when Ugo, the engineer, is shown, we enter the factory for interior shots or else view particular pieces of apparatus outside. As Giuliana and Corrado begin to fall in love and Giuliana begins to open herself up to the world again, Antonioni takes us to the radar installations at Medicina, where the tall masts stand bare along the level landscape. But lest we suspect that Giuliana has become disoriented, the director uses a small black...
Like a painter, Antonioni uses the frame of the picture for his effects. When Corrado leaves Giuliana, he simply walks out of the frame. The camera continually moves off the characters and onto the landscape. At the very end, Giuliana and her son disappear into the lower right hand corner while Antonioni gives us a perfect still shot of the factory. In this way, the director is constantly making us aware that the frame seperates what we can see from what we cannot...
...still paints tender nudes from life, works in a former stable in the old whaling town of Sag Harbor, and putts around in his Model T and 1935 Rolls-Royce. Realists such as Fairfield Porter, Paul Georges and Moses Soyer live within a short drive of Abstractionists Ludwig Sander, Corrado Marca-Relli and James Brooks. Even New Yorker Cartoonists Charles Addams and Saul Steinberg find the region warmly inclusive...