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OD SOCIÁLNEJ REALITY K REALITE ZVNÚTORNENEJ
FROM SOCIAL REALITY TO INTERNALIZED REALITY
Event by: Filmový kabinet
Location: Ministerstvo práce, sociálnych vecí a rodiny Slovenskej republiky, Špitálska 4, Bratislava - Staré Mesto
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Discussions and lectures
About event
Luchino Visconti, Federico Fellini, Michelangelo Antonioni and Pier Paolo Pasolini. Each of the authors of the Italian film capitalizes on the experience with the neorealism movement in his own way. Open endings, episodic narration, shooting in real life or working with non-actors and non-actresses - they put all of this at the service of a stylized image of reality. Visconti embarks on a critical analysis of history in his costume historical films. Fellini creates a personal mythology in his paintings on the border between fantasy and reality. Antonioni searches for a new geometry of modern man in dramatized stories about emotional illness. And Pasolini combines centuries-old cultural traditions with para-documentary stylized images of the urban scum.
The lecture will be combined with a screening of the film The Red Waste (Michelangelo Antonioni, 1964).
The Red Wasteland is a land devastated by aggressive factory chemicals. And it is also the emotional landscape of Michelangelo Antonioni's characters, who struggle in vain with the feeling of alienation, existential uncertainty and the absence of the meaning of life. In the 60s of the 20th century, he dedicated four films made in collaboration with acting muse Monica Vitti to the crisis of modern man, which the director named the disease of feelings. In the last part of the tetralogy of feelings, Antonioni used color film material for the first time to portray the inner world of his heroine, who is experiencing anxiety and depression after a car accident.
The lecture will be combined with a screening of the film The Red Waste (Michelangelo Antonioni, 1964).
The Red Wasteland is a land devastated by aggressive factory chemicals. And it is also the emotional landscape of Michelangelo Antonioni's characters, who struggle in vain with the feeling of alienation, existential uncertainty and the absence of the meaning of life. In the 60s of the 20th century, he dedicated four films made in collaboration with acting muse Monica Vitti to the crisis of modern man, which the director named the disease of feelings. In the last part of the tetralogy of feelings, Antonioni used color film material for the first time to portray the inner world of his heroine, who is experiencing anxiety and depression after a car accident.