Merilyn Sakova On Cam

THE MOTEL AND SOUND OF LOLITA

the series "gladly receive and publish," an invitation to the theater for the next evening.

Motel Hell is a charlatan, in which the damned are revived parody of his own faults, trapped in an eternal role. E 'in here, however, that have the potential to undermine their final attempt to live beyond an end, within the dynamics of a future life, they have not been able to share. So
returning players in their personal future, but taking the whole weight below the inadequacy of their existence.
In fact, the characters return to live in the hope of selfishness and emerges as the law of oppression, deception, that he had already ruled in life.
cross-cutting theme of the piece is the responsibility of the world of "adults" to future generations. The motel became the symbol of the passions of the anonymous, closed in a world that fails to turn its eyes to the outside of your yard.

OF THE MOTEL LOLITA

Claudio and Guido Rossi Romanelli

Directed by Massimo Cardinali

from March 15 to March 20, 2011

21.00 - 19.00 Sunday

Teatro Sala Uno

Piazza di Porta San Giovanni Rome 10

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for info and reservations

Cultural Association Controchiave

Street Libetta 1 / a - 06 45506613

Via Gaspare Gozzi 153-06 5432 212

www.controchiave.it

info@controchiave.it

9 Days Post Ovulation

Buñuel Time!

Accomplices

the gift of my aunts (the casket of RaroVideo early work of director Luis Bunuel) and the course of Paul Bertetto on the theory and interpretation of the film, I began to deepen the discourse on the early surrealist silent film ' 20 and the torque-producing Dali-Bunuel.

All you have surely heard, at least once in their lifetime, the artist (painter is very simplistic to call it) Salvador Dali. Not many know that Dali, as well as having participated in Hitchcock's Spellbound in 1945, began nel cinema con un film del 1929 diretto insieme all'amico Luis Buñuel e sceneggiato da entrambi.

Chiamarlo film è forse inesatto. L'esperimento della coppia Dalì/Buñuel è un cortometraggio surrealista di 15 minuti che sovverte i canoni del cinema narrativo. Racconta qualcosa, ma non è una storia.

Non è facile cercare di descrivere una simile pellicola. Credo che per centrare il bersaglio sia necessario aprire una piccola parentesi storica ed approfondire il tema del surrealismo.

 

Dopo le scoperte della psicoanalisi freudiana, le avanguardie artistiche del '900 hanno concentrato la loro attenzione sulle tematiche del profondo, puntando all'esplorazione the unconscious and its representation in art form. According to Freud's' Interpretation of Dreams is through the dream material of dreams that the unconscious expresses itself better (if we can speak of himself). So, it is natural that the artist who, like the philosopher, aims to capture the essence, we want to focus on these issues.

Un chien andalou, if you will, it is the "manifest content" (to use Freud's terminology) the dream of the two protagonists.

Images appear in a frenzied succession, apparently devoid of a logical sense, with the aim of touch the viewer in his heart.

Un Chien Andalou and L'age d'or , 1929 and 1930 respectively, are the two films which will be discussed.

My idea is to focus in depth on both short films and analyze sequence by sequence, using the "paranoiac critical method" in these films seem to be the first shining examples, the direction that the films they want to undertake.