summercomfort (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
summercomfort) wrote2004-12-06 01:59 am
summercomfort) wrote2004-12-06 01:59 am
(no subject)
List of ROV links for safekeeping:
http://www.araya.i8.com/links/links.html Good set of links
http://www.interlog.com/~dgsimmns/RoV/RoV.intro.html Has v. nice history section, along with everything else
http://www.mit.edu:8001/people/rei/MANGA/Vers.html spoilers
Tonight:
- Read about the Enlightenment
- Read about the French Revolution
- Read about Louis XIV
Tomorrow:
- Buy Voltaire
- Library: get reading on Prussian Monarchy and Italian movies
Rossellini--
Open City (1945): "Rossellini determined to produce a film that would show the circumstances of German occupation and of the Italian Underground. Open City was made unter most difficult circumstances, often shot in actual locales, sometimes with German patrols nearby. ... Open City's impulse to recount actual experiences, compounded by the difficult production circumstances, contributed to the films qualities of immediacy and desperation. ... From these defeats, Rossellini wrests victory, for all the Italians die well and purposefully. Viewed now, Open City seems a contradictory mixture. Its strongest features are natural, humorous, often anxious exchanges between ordinary people at moments of relaxation and stress. The partisan, very Roman, story is nourished by location shooting where actors and street rubble share the narrative itself... Weaknesses in Open City accompany the Germans, a difference not of culture but performance. The Gestapo scenes--shot in the studio--have a stiffness and artificiality that is abetted by turns in the lurid plot. The film's music, composed by Rossellini's brother Renzo Rossellini, is obtrusively dramatic" (Fell, John L. A History of Films. Holt, Reinhart and Winston, New York,1979, p.319)
De Sica--
The Garden of the Finzi-Contini (1971): "De Sica's later films depart neorealism as esthetic or moral posture in favor of more orthodox stories" He started out Marxist.
Petri--
Investigation of a Citizen Above Suspicion (1968)
Pasolini-- "surreal"
Salo or The 120 Days of Sodom (1976): "Renders tangible the obsessions of the Marquis de Sade: sexual cruelties visited on youth, innocence, and by implication the proletariat by Gestapo-like figures of repression. ... The controversial film was completed shortly before Pasolini was found, murdered by Italian police. Its final cut may be at odds wit h the director's intentions" (Fell, 329).
Bertolucci--
The Conformist (1969): "Intertwines sex and politics in a remarkably recreated fascist Italy of the thirties. As in Visconti's The Damned, and Pasolini's Salo, homosexuality is equated with power urges and with the authoritarian personality. ... Bertolucchi structures its exposition into memories that suggest Proust-like associational flashbacks. His employment of color is designed to reinforce the abnormalities of the earlier regime" (Fell, 331).
The Spider's Strategy (1970): "The film counterpoints its identity-search theme (...) against the perplexing, guilt-ridden issue of fascism among the townspeople. No one wants the past remembered accurately. The son's search is psychologically dangerous, and Bertolucci emphasizes its attendent anxiety with visuals that contrast old and new, darkness and light, and complicated class reflections." (Fell, 331).
1900 (1976): "An emphasis on polarized, melodramatic values cut to accommodate a Marxis vision of World Wars I and II does little to alter the form's conventions." (Operatic, epic) (Fell, 332)
Wertmuller-- socialist
Love and Anarchy (1973)
- Media Center: Watch Italian movies
- Take photo of Campus Bad idea, rainy today. Other thought involving glassy paint and waiting for my impulse purchase.
- Get form from registrar Changed: get form from Advisor
- get International Student form thing (bring photos)
- Print out Kascuba
http://www.araya.i8.com/links/links.html Good set of links
http://www.interlog.com/~dgsimmns/RoV/RoV.intro.html Has v. nice history section, along with everything else
http://www.mit.edu:8001/people/rei/MANGA/Vers.html spoilers
Tonight:
- Read about the French Revolution
- Read about Louis XIV
Tomorrow:
Rossellini--
Open City (1945): "Rossellini determined to produce a film that would show the circumstances of German occupation and of the Italian Underground. Open City was made unter most difficult circumstances, often shot in actual locales, sometimes with German patrols nearby. ... Open City's impulse to recount actual experiences, compounded by the difficult production circumstances, contributed to the films qualities of immediacy and desperation. ... From these defeats, Rossellini wrests victory, for all the Italians die well and purposefully. Viewed now, Open City seems a contradictory mixture. Its strongest features are natural, humorous, often anxious exchanges between ordinary people at moments of relaxation and stress. The partisan, very Roman, story is nourished by location shooting where actors and street rubble share the narrative itself... Weaknesses in Open City accompany the Germans, a difference not of culture but performance. The Gestapo scenes--shot in the studio--have a stiffness and artificiality that is abetted by turns in the lurid plot. The film's music, composed by Rossellini's brother Renzo Rossellini, is obtrusively dramatic" (Fell, John L. A History of Films. Holt, Reinhart and Winston, New York,1979, p.319)
De Sica--
The Garden of the Finzi-Contini (1971): "De Sica's later films depart neorealism as esthetic or moral posture in favor of more orthodox stories" He started out Marxist.
Petri--
Investigation of a Citizen Above Suspicion (1968)
Pasolini-- "surreal"
Salo or The 120 Days of Sodom (1976): "Renders tangible the obsessions of the Marquis de Sade: sexual cruelties visited on youth, innocence, and by implication the proletariat by Gestapo-like figures of repression. ... The controversial film was completed shortly before Pasolini was found, murdered by Italian police. Its final cut may be at odds wit h the director's intentions" (Fell, 329).
Bertolucci--
The Conformist (1969): "Intertwines sex and politics in a remarkably recreated fascist Italy of the thirties. As in Visconti's The Damned, and Pasolini's Salo, homosexuality is equated with power urges and with the authoritarian personality. ... Bertolucchi structures its exposition into memories that suggest Proust-like associational flashbacks. His employment of color is designed to reinforce the abnormalities of the earlier regime" (Fell, 331).
The Spider's Strategy (1970): "The film counterpoints its identity-search theme (...) against the perplexing, guilt-ridden issue of fascism among the townspeople. No one wants the past remembered accurately. The son's search is psychologically dangerous, and Bertolucci emphasizes its attendent anxiety with visuals that contrast old and new, darkness and light, and complicated class reflections." (Fell, 331).
1900 (1976): "An emphasis on polarized, melodramatic values cut to accommodate a Marxis vision of World Wars I and II does little to alter the form's conventions." (Operatic, epic) (Fell, 332)
Wertmuller-- socialist
Love and Anarchy (1973)
- Print out Kascuba