Word: neorealistic
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Michelangelo Antonioni is a restless eminence. For more than 40 years he has been testing the limits of film narrative-as a young critic and documentarist, as a screenwriter in Italy's neorealist cinema, as the director of such parables of alienation as L'Avventura (1960) and Eclipse (1962). And while he expanded the viewer's understanding of the way stories can be told, he helped change the way the world is seen on film. In Red Desert (1964), he reflected the industrial and emotional decay of modern Ravenna in skies streaked like a sulfurous rainbow...
Died. Count Luchino Visconti, 69, Italian aristocrat who became a movie director at the age of 30 and made an international reputation with a handful of meticulously wrought and highly atmospheric films; of a heart attack while suffering from influenza; in Rome. An early neorealist, along with Vittorio de Sica and Michelangelo Antonioni, Visconti used Sicilian villagers instead of actors in La Terra Trema (1947), the drama of a poor fisherman's family. In Rocco and His Brothers (1960), he described the brutalizing of a farm family moving north to Milan. Visconti's later works tended toward operatic...
...pseudotough tones of the neorealist, Novelist Norman Mailer, 51, has always claimed he writes only for cash...
Deadpan Images. Raffael's use of photos has created, in some quarters, the impression of an affinity with the much touted American "New Realism." Not so. The neorealist effort-air-brushed Volkswagen bumper bars, Los Angeles parking lots, horse postcards, the whole post-Pop iconography of deadpan images-is merely an absent-minded rumination on fact, painting reduced to bland, mechanical transliteration. The method precludes light and atmosphere, and silences all dialogue between brush-work and image. New Realism is the limp, ineloquent salon...
Kaylor uses a kind of modified neorealist technique in which real people re-enact real situations. The results are often stunning. There is a pervasive tone of desperation in Derby, a sense of ironic, backhanded success about O'Connell and a pitiful aimlessness in Snell. As the documentary ends, he gets on a motorcycle and rides out to roller derby school in San Francisco. Snell says he wants to "better" himself, but Derby has made it clear that success will mean no more than living a hollow dream. Jay Cocks