Word: surrealists
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...slapstick manner of a cartoon, then evolves seamlessly into a bucolic Renoir romance. In the second half, Blier stages chase scenes, a benign car crash and a farcical kidnaping-the larky stuff of American screwball comedy. The film's stylized denouement, shot around a wintry mansion, is a surrealist's spooky intimation of tragedy. But even when invoking death, Handkerchiefs is no cause for gloom. By liberating sex from the political and cultural cant of our time, Blier leaves the audience drunk on the possibilities of life...
Cortazar has long been in the vanguard of contemporary Latin American authors who employ surrealist and experimental techniques. With his emphasis on fantasy and indigenous mythology, and his use of innovations in novelistic form, he attempts to assert his intellectual independence from Western literary traditions. Like his Argentine compatriot, Jorge Borges, Cortazar portrays a reality in which past, present and future exist simultaneously; a world where his characters are trapped in the labyrinth of modern society. Cortazar's two best-known works, the short story "Blow Up" (on which director Antonioni based his film) and the novel Hopscotch, exemplify...
DIED. Giorgio de Chirico, 90, Italian painter, whose early surrealist works helped define 20th century art; of a heart attack; in Rome...
Between 1912 and 1920, De Chirico produced a series of images?his pittura metafisica, or metaphysical painting?that altered the history of modernism. His empty colonnades and squares, populated by statues and shadows, exerted a vast influence on the growth of a specifically surrealist art. Max Ernst, René Magritte and Salvador Dali all paid homage to the liberating power of early De Chirico. He seemed to have made the actions of the dreaming mind more accessible, vivid and poignant than any other painter. "If a work of art is to be truly immortal," he explained, "it must pass quite beyond...
...master seized him; the modernist experiment was too uncertain, and history, he thought, would condemn it. "I have seen," he wrote to André Breton in 1922, "yes, I have finally seen, that terrible things are happening today in painting." Amid hoots of derision from his former surrealist admirers, he marched firmly to the rear guard and took up an irritably defensive stance, maintaining it for the next half-century...