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Word: avventura (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Treat or a Treatment. One of the principals of the cast-who signed on in hopes that the show "might convey the real emptiness of our life and become an American L'Avventura"-now fears that it is degenerating into high-priced prime-time soap opera. Producer Doniger vehemently disputes the charge, though he just as determinedly denies that his last show was soap. It was Peyton Place...

Author: /time Magazine | Title: Programming: Rescuing the Survivors | 8/1/1969 | See Source »

...Bergman, Federico Fellini, Michelangelo Antonioni, Alain Resnais, François Truffaut and Jean-Luc Godard could pretty well shoot them as they saw them and let the censor take the hindmost. As a result, they made a number of fine far-out films (The Bicycle Thief, Wild Strawberries, 8½, L'Avventura, Hiroshima, Mon Amour, The 400 Blows, Breathless) that made a startling amount of money...

Author: /time Magazine | Title: Actresses: Birds of a Father | 3/17/1967 | See Source »

BLOWUP. Italy's anatomist of melancholy, Michelangelo Antonioni (L'Avventura), moves his cameras to London, where he commences by filming the mod scene with abandon and then, in midflight, abruptly transforms an ingenious thriller into an opaque parable. The result is one of the most talked-about and popular films around...

Author: /time Magazine | Title: Television, Theater, Records, Cinema: Mar. 3, 1967 | 3/3/1967 | See Source »

BLOWUP. Italy's anatomist of melancholy, Michelangelo Antonioni (L'Avventura), moves his cameras to London, where he commences by filming the mod scene with abandon and then, in midflight, abruptly transforms an ingenious thriller into an opaque parable. The result is one of the most talked about and popular films around...

Author: /time Magazine | Title: Time Listings: Feb. 24, 1967 | 2/24/1967 | See Source »

...ending is consistent with the rest of Antonioni's work. In L'Avventura, Sandro and Claudia's romance fails to solve their individual problems, yet they will remain together; in La Notte, Giovanni and Lidia decide not to separate although they know their marriage will never be successful; Red Desert ends with Giuliana's realization that she must not commit suicide even if her life is filled with neurotic unhappiness. Unlike the films of Rosselini, Hitchcock, and Renoir, which follow characters in a state of emotional or spiritual crisis through a therapeutic chain of events, Antonioni's films are rarely...

Author: By Tim Hunter, | Title: Blow-Up | 2/15/1967 | See Source »

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