Word: surreality
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Dates: during 1960-1969
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Cornfield transforms this rather ordinary premise into a kind of vision of surreal violence. Working closely with Cinematographer Willi Kurant, he creates an autumnal landscape, heavy with fear, that is the stuff that nightmares are made of. From the subdued hues of a beach at dawn to the bleached neon whiteness of a bathroom, colors serve both to establish the mood of each scene and underscore the precisely orchestrated tension. The film's ambiguous ending, which puts a parenthesis of fantasy around the action, may at first seem facile. On reflection, however, the viewer finds that a whole...
Spun-Sugar Story. The ho-hum atmosphere of the trial became almost surreal with the appearance for the defense of Dean Andrews, a pudgy little New Orleans lawyer. Andrews set off the Garrison investigation with a story that he got a phone call from one "Clay Bertrand" the day after Kennedy was shot, asking him to defend Oswald. Andrews had already switched his story so often that he had been convicted of lying to a grand jury. When Assistant D.A. James Alcock tried to pick apart points that helped the defense, Andrews retracted the rest of the tale, swallowing...
LEVEN'S approach to comedy is much more cerebral than The Proposition's frenetic mimickry would suggest. Having left behind the simplicity of his first show, Leven sought in The Light Company a "synthesis of every kind of movement in the theatre: non-objective, abstract, futuristic, surreal. We are to say--look this is a piece of stage, it is not real life. So, let's treat it in a context void of emotional restraints. Let's treat it like a cubist treats a piece of canvas. The Light Company should be a collage- type theatre, allowing a person...
...school of Allen Ginsberg and Gregory Corso, Frank O'Hara and John Ashbery. Basically, the San Francisco school represented a fresh imagism combined with oriental influences; the Black Mountain group leaned toward an intellectual eclecticism typical of Ezra Pound's Cantos; and the New York school was surreal and Dadaistic, or more adamantly colloquial and hortative, as in Ginsberg's "Howl." But these distinctions tended to blur as the groups began influencing one another. Behind them, unifying them, were the established voices of Kenneth Rexroth, Kenneth Patchen, William Carlos Williams, and even old Walt Whitman, whose emotional...
...there is a trend, it is toward the personal voice-the poet not only seeking his own identity but combatting society with that identity, the poet engaging the real world with more or less surreal imagery and ideas. Joined in that combat today are both well-known poets and those whose voices are just beginning to be heard...