Yûkoku (1966) - Yukio Mishima
Yûkoku (Rito de Amor e de Morte em Português do Brasil) é uma curta-metragem realizada pelo reputado escritor Yukio Mishima e por Domoto Masaki. Realizado quatro anos antes do suicídio de Mishima, Yûkoku reflecte a história de um tenente do exército japonês, Shinji Takeyama, e da sua mulher, Reiko.
Mishima é fascinado pela morte e pelo samurai. No filme, esta fascinação é-nos demonstrada quando Shinji, representado pelo próprio Mishima, comete seppuku, ou harakiri, o suicídio ritual dos samurais. Mishima acabaria por se suicidar desta mesma forma. Em Yûkoku são tratados os temas da morte, violência e política, recorrentes em Mishima.
Yûkoku (Patriotism in English) is a short film made by the renowned writer Yukio Mishima and Domoto Masaki. Written four years before the suicide of Mishima, Yûkoku reflects the story of a Japanese army lieutenant, Shinji Takeyama, and his wife, Reiko.
Mishima is fascinated by death and samurai. In the film, this fascination is shown when Shinji, played by Mishima itself, commits seppuku or harakiri, the samurai ritual suicide. Mishima eventually commit suicide this same way. In Yûkoku we can see the themes of death, violence and politics, recurrent in Mishima’s work.
LA STRADA (1954) - Federico Fellini
La Strada acompanha a jornada de Gelsomina desde que, vendida pela sua mãe, é forçada a partir com Zampanó (Anthony Quinn) para uma vida de artista itinerante. O filme segue a protagonista através de uma sucessão de episódios que põem à prova a sua inocência e boa vontade, à medida que desenvolve sentimentos em relação a Zampanó que são retribuídos com brutalidade e indiferença.
Um dos elementos mais marcantes em La Strada é a expressividade com que Giulietta Masina, mulher de Fellini, interpreta a inesquecível Gelsomina. Essa expressividade, que faz lembrar as representações do cinema mudo (principalmente Chaplin) centra-se, sobretudo, no rosto de Masina e é através desse rosto que sobressai toda a palete das emoções humanas que o filme aborda nos vários momentos.
Em La Strada, Fellini aproveita a actividade de saltimbancos dos seus personagens para traçar um retrato de Itália no pós Segunda Guerra Mundial. Este filme marca uma transição na obra de Fellini entre o rígido compromisso social do cinema neo-realista e uma maior ligação à fantasia e ao sonho. O tom do filme é poético e melancólico, pontuado por momentos de delicioso humor.
La Strada follows the journey of Gelsomina since, sold by her mother, is forced to leave with Zampano (Anthony Quinn) to an itinerant life as an artist. The film follows the protagonist through a succession of episodes that will test her innocence and good will, as she develops feelings for Zampano that are rewarded with brutality and indifference.
One of the most striking elements in La Strada is the expressiveness that Giulietta Masina, Fellini's wife, gives to the unforgettable Gelsomina. This expressiveness, which resembles the performances of the silent film (especially Chaplin) focuses mainly on the face of Masina and it is through this face that stands out the entire palette of human emotions that the film touches on several occasions.
In La Strada, Fellini takes the activity of travelers of his characters to draw a portrait of Italy's post World War II. This film marks a transition in Fellini's work between the neo-realist rigid social compromise and a greater connection to fantasy and dream. The film's tone is poetic and melancholic, punctuated by moments of delightful humor.
One of the most striking elements in La Strada is the expressiveness that Giulietta Masina, Fellini's wife, gives to the unforgettable Gelsomina. This expressiveness, which resembles the performances of the silent film (especially Chaplin) focuses mainly on the face of Masina and it is through this face that stands out the entire palette of human emotions that the film touches on several occasions.
In La Strada, Fellini takes the activity of travelers of his characters to draw a portrait of Italy's post World War II. This film marks a transition in Fellini's work between the neo-realist rigid social compromise and a greater connection to fantasy and dream. The film's tone is poetic and melancholic, punctuated by moments of delightful humor.
MARINA ABRAMOVIC E ULAY
Em 1976, Marina Abramovic e Ulay (Uwe Laysiepen), dois artistas reconhecidos pelo seu trabalho na área da performance e da body art, conheceram-se e iniciaram uma colaboração artística. O termo body art tem origem nos anos 60 do século XX para designar uma categoria da arte da performance em que a matéria-prima utilizada é o corpo, geralmente do próprio artista.
Ao longo desta colaboração, Marina Abramovic e Ulay viveram juntos, designando-se a si próprios como um “corpo com duas cabeças”, e criaram uma série de performances, como Relation in Time, Expanding in Space, Imponderabilia e AAA AAA, que exploram os limites do corpo e a sua relação com o espaço, temas que vinham já a desenvolver nos seus trabalhos individuais.
O fim desta relação pessoal e artística foi assinalado com uma última performance, denominada The Lovers. Em Julho de 1988, cada um deles partiu, a pé, de um dos extremos da grande muralha da china, percorrendo mais de 2000 km em 90 dias, e encontraram-se no meio para se despedirem um do outro.
In 1976, Marina Abramovic and Ulay (Uwe Laysiepen), two artists known for their work in the area of performance and body art, met and began an artistic collaboration. The term body art origins in the 60´s to designate a category of performance art in which the raw material used is the body, usually the body of the artist himself.
Through this collaboration, Marina Abramovic and Ulay lived together, designating themselves as "a body with two heads," and created a series of performances such as Relation in Time, iExpanding in Space, Imponderabilia ans AAA AAA, which exploit the limits of the body and its relation to space, topics that both were already developing in their individual work.
The ending of this personal and artistic relationship was marked with a last performance, called The Lovers. In July 1988, each of them went on foot from one end of the Great Wall of China, covering more than 2000 km in 90 days, and met in the middle to say goodbye to each other.
Through this collaboration, Marina Abramovic and Ulay lived together, designating themselves as "a body with two heads," and created a series of performances such as Relation in Time, iExpanding in Space, Imponderabilia ans AAA AAA, which exploit the limits of the body and its relation to space, topics that both were already developing in their individual work.
The ending of this personal and artistic relationship was marked with a last performance, called The Lovers. In July 1988, each of them went on foot from one end of the Great Wall of China, covering more than 2000 km in 90 days, and met in the middle to say goodbye to each other.
SCOUT NIBLETT
Scout Niblett, nascida em 1973 em Inglaterra, é uma cantora/compositora actualmente a viver nos EUA dona de uma voz, simultaneamente doce, melancólica e cortante. Uma das características que se destacam mais na sua música é o estilo minimalista, sendo que a sua voz é, normalmente, acompanhada apenas por guitarra e bateria. Para além de cantar é ela própria que, muitas vezes, toca os instrumentos que a acompanham.
Assumindo influências do grunge (especialmente Sonic Youth, Mudhoney e Nirvana), as suas composições combinam momentos quase infantis com uma energia frenética, esquizofrénica mesmo, resultando num estilo muito próprio.
Entre 2001 e 2010, Scout Niblett lançou cinco álbuns, entre os quais I Am (2003) e Kidnapped by Neptune (2005) com a colaboração de Steve Albini (que foi, também, produtor de bandas como Nirvana, Peaches e P.J. Harvey), e tornou-se conhecida pelos seus concertos intimistas.
Scout Niblett, born in 1973 in England, is a singer/songwriter currently living in the U.S. owner of a voice both sweet, melancholic and sharp. One of the features that stand out most in her music style is its minimalism, her voice is usually accompanied only by guitar and drums. In addition to singing she herself often plays the instruments that accompany it.
Taking influences from grunge (especially Sonic Youth, Mudhoney and Nirvana), Scout Niblett's compositions combine almost childlike moments with a frenetic energy, even schizophrenic, resulting in a very unique style.
Between 2001 and 2010, Scout Niblett released five albums, including I Am (2003) and Kidnapped by Neptune (2005) in collaboration with Steve Albini (who was also the producer of bands like Nirvana, Peaches and PJ Harvey) and became known for her intimate concerts.
Scout Niblett, born in 1973 in England, is a singer/songwriter currently living in the U.S. owner of a voice both sweet, melancholic and sharp. One of the features that stand out most in her music style is its minimalism, her voice is usually accompanied only by guitar and drums. In addition to singing she herself often plays the instruments that accompany it.
Taking influences from grunge (especially Sonic Youth, Mudhoney and Nirvana), Scout Niblett's compositions combine almost childlike moments with a frenetic energy, even schizophrenic, resulting in a very unique style.
Between 2001 and 2010, Scout Niblett released five albums, including I Am (2003) and Kidnapped by Neptune (2005) in collaboration with Steve Albini (who was also the producer of bands like Nirvana, Peaches and PJ Harvey) and became known for her intimate concerts.
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