ROME In Michelangelo Antonioni's movies, dialogue was sparse, shots lengthy and action minimal. This abstract style and a ruthless exploration of the malaise of modern man made the Italian director a darling of avant-garde cinema and a celebrated filmmaker across the world. Mr. Antonioni died at 94 in his home, officials said Tuesday, after a career that spanned six decades, an Oscar for lifetime achievement and movies that have become classics, such as "L'Avventura," "Blow-Up" and "Zabriskie Point.
The 2000 election is likened to a Michelangelo Antonioni film
In 2007, obituaries spoke of "legends" and "immortals. Novelists Norman Mailer and Kurt Vonnegut; movie directors Ingmar Bergman and Michelangelo Antonioni; music-makers Ike Turner and Porter Waggoner; and photographer Ernest C. Withers and cinematographer Lszl Kovcs were among the great artists who died.
En una de las raras apariciones que hace en público, el legendario cineasta italiano Michelangelo Antonioni viajará a Los Ángeles para estar presente en el tributo que le ofrecerán los miembros de la Academia de Artes y Ciencias Cinematográficas mañana jueves, cuando será proyectada una nueva copia de su película The Passenger. El evento de mañana será presentado en asociación con el Departamento de Cine del Museo de Arte del Condado de Los Ángeles (LACMA), el Instituto Cultural Italiano y la organización Cinecittá Holding quienes, en un esfuerzo combinado, presentan hasta el 30 de septiembre, en el Teatro Bing del museo, una muestra retrospectiva de las mejores películas dirigidas por Michelangelo Antonioni a lo largo de su carrera.
Can a movie stop the war in Iraq? With "Redacted," director Brian De Palma hopes so. His new film recounts (and greatly embellishes upon) an incident in which American soldiers - several of whom are now facing charges for their actions - raped and killed a young Iraqi girl. Mr. De Palma has long held a reputation as a silver-screen copycat artist, a forger of second-rate goods who casually lifts from his cinematic betters. In films like "Dressed to Kill," "Mission to Mars" and "Blow Out," he shamelessly appropriated motifs and narrative elements from respected directors like Alfred Hitchcock, Stanley Kubrick, and Michelangelo Antonioni.
In his astute appraisal of Michelangelo Antonioni's career in the arts section of The New York Sun of Aug. 1, 2007, Benjamin Ivry quotes one of Antonioni's severest critics, Ingmar Bergman, no less, as he accuses Antonioni in 2002 of being "suffocated by his own tediousness. He concentrates on single images, never realizing a film that is a rhythmic flow of images, a movement." Ivry then very kindly credits me with coining the term "Antonioniennui. By contrast, David Thomson was aware of Antonioni's total oeuvre when he postulated that L'Avventura was more the end rather than the beginning of Antonioni's accomplished accessibility as an artist. After L'Avventura, Thomson suggests, the director drifts more and more into the humorless, arid deserts of abstraction. Yet Thomson does not so...
Examinations, evencritiques of our present global economic system, Chen's films-whose work with non-actors recalls the neorealism of Vittorio De Sica while echoing the stylings of Michelangelo Antonioni-mesmerize the eye through long pans and gorgeous attention to human detail, while giving the ear what amounts to the silent treatment. Grafted from images that echo the digital age's snuff stuff-think repeating 9/11 footage and beheading videos on the Internet-Chen portrays the dismemberment of a person as something happening not to abstract concepts (like white devils or Orientals) but to a human being, with both savagery and empathy (and everything in between) left intact.
Also in 1963, [Herbie Hancock] received the call that was to change his life and fix his place in jazz history. He was invited to join the Miles Davis Quintet. During his five years, with [Miles Davis], Hancock and his colleagues thrilled audiences and recorded classic after classic, including albums like "ESP," "Nefertiti," and "Sorcerer." Most jazz critics and fans regard this group, which also included Wayne Shorter (tenor sax), Ron Carter (bass), and Tony Williams (drums) as the greatest small jazz group of the 1960s. Even after he left, Miles' group, Hancock continued to appear on Davis' groundbreaking recordings "In A Silent Way" and "Bitches Brew," which heralded the birth of jazz-fusion. In 1966, he composed the score to Michelangelo Antonioni's film, "Blow Up." This led to a su...
ver las páginas en versión mobile | web
ver las páginas en versión mobile | web
© Copyright 2012, vLex. All Rights Reserved.
Contents in vLex United States
Explore vLex
For Professionals
For Partners
Company
Other interesting searches:
Australia Publishing | rescue bill | His Post | Arianna Huffington | Lucy Njeri | Producto industrial | Villebois | venta inmuebles valencia | jornada de trabajo en venezuela | niveau de vie au canada
