Centenário de Dylan Thomas

Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, theContinuar lendo “Centenário de Dylan Thomas”

Dylan Thomas – Michael Powell

The Boathouse, Laugharne, Camarthenshire, Wales, n.d., ca. late 1951, to Michael Powell, n.p. The letter reads, “Roger Burford gave your address to my agent, David Higham, and said that you wanted to hear from me about the possibility of my working on a film story. I wasn’t told any details, but I wanted, of course,Continuar lendo “Dylan Thomas – Michael Powell”

Der ewige Jude (Fritz Hippler / Joseph Goebbels, 1940)

Não me recordo de ter assistido um filme mais absurdo do que este em toda a minha existência. Finalmente posso dizer com certeza o que jamais diria a um filme qualquer: WORST FILM EVER!!! Esse filme é tão intragável, mas tão intragável que levei uns dez dias para assistí-lo porque não tinha sistema nervoso eContinuar lendo “Der ewige Jude (Fritz Hippler / Joseph Goebbels, 1940)”

Nota mental: British Neo-Romanticism

The term neo-romanticism is synonymous with post-Romanticism or late Romanticism. It is a long-lived movement in the arts and literature.
It is considered to be a reaction to naturalism. The naturalist in art stresses external observation, whereas the neo-romanticist adds feeling and internal observation. These artists tend to draw their inspiration from artists of the age of high romanticism, and from the sense of place they perceive in historic rural landscapes; and in this they react in general to the ‘ugly’ modern world of machines, new cities, and profit. Characteristic themes include longing for perfect love, utopian landscapes, nature reclaiming ruins, romantic death, and history-in-landscape. Neo-romanticism is often accused by critics of being too insular, too interested in figurative painting and beauty, too fond of intuition, too distrustful of ideological & theoretical ways of comprehending art, and too in love with the past and the idealised / spiritual / haunted landscape. This was particularly so in the decades after both of the world wars.