Word: realistes
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Kissinger, a European refugee who read Metternich more avidly than Jefferson, is unabashedly in the realist camp. "No other nation," he writes, "has ever rested its claim to international leadership on its altruism." Other Americans might proclaim this as a point of pride; when Kissinger says it, his attitude seems that of an anthropologist examining a rather unsettling tribal ritual. The practice of basing policy on ideals rather than interests, he points out, can make a nation seem dangerously unpredictable...
Allende's complex novel, which producer Eichinger somehow found "perfect for the motion picture screen," is reduced to a confused soap opera. Magical realist elements become comedic interludes, political ideals seem fake or out of place, and powerful relationships are simplified to sappy love affairs...
This first segment of "The House of the Spirits" is the most successful at capturing the magical-realist atmosphere found in Allende's novel. Rosa, with her ghostly beauty, and young Clara, with her psychic powers, tiptoe on the line between reality and fantasy, adding an other-worldly quality to the film's beginning...
...heart attack) and diffident demeanor mask a revolutionary sensibility. As an iconoclast in a country of enforced artistic conformity, Schnittke represented for many of his Soviet countrymen a kind of artistic glasnost long before Gorbachev made it permissible. Stylistically unpredictable and resolutely uncompromising -- there are no "Socialist Realist" elements in his music, no compositions celebrating factories at work or peasants at play -- Schnittke's music is fundamentally deconstructive. It uses the past as raw material for the present, often referring to or quoting directly from Bach, Mozart and other Germanic composers and then tearing them apart in a destructive analytical...
McElwee continues to question, "what exactly is the nature of nonfiction versus fiction" in filmmaking. A true realist, McElwee describes documetary filmmaking ideally as the "objective presentation of visual images shot from reality." But he concedes, "I guess there's no strain of the purely objective anywhere in the film...That kind of objectivity, we all realize in this post-modern era, is an impossibility. You can't be objective." He cites Errol Morris, the make of "A Thin Blue Line" and "A Brief History of Time," as the most "noticeble" explorer of this question. Both of these films document...