giovedì 28 febbraio 2019
mercoledì 27 febbraio 2019
martedì 26 febbraio 2019
lunedì 25 febbraio 2019
domenica 24 febbraio 2019
sabato 23 febbraio 2019
venerdì 22 febbraio 2019
IL FURTO DELLA GIOCONDA. Un falso al Louvre? Di Silvano Vinceti (Armando Editore). In libreria il 28 febbraio 2019
La Gioconda che tutti ammiriamo al Louvre
potrebbe essere un falso. Lo sostiene lo studioso Silvano Vinceti nel suo
ultimo lavoro Il furto della Gioconda. Un falso al Louvre? in libreria per
Armando Editore. Un libro estremamente documentato in cui l’Autore solleva il
dubbio che la Gioconda del Louvre possa essere un falso d'autore realizzato
dall'allievo prediletto di Leonardo: il Salai. Silvano Vinceti capovolge la
consolidata narrazione del clamoroso furto della Gioconda avvenuto nell'agosto
del 1911 nel museo del Louvre, secondo la quale fu il Peruggia l’ideatore e
realizzatore del furto. Per Silvano Vinceti il Peruggia non entrò mai al
Louvre, non rubò mai la Gioconda. La nuova ricostruzione del furto compiuto su
documenti originali, alcuni dei quali inediti, accende i riflettori sul vero
ideatore del furto, un mercante d'arte dedito alla vendita di opere
falsificate, di nazionalità francese che fece riprodurre varie copie della
Gioconda vendute ad ignari e facoltosi latifondisti americani.Grazie a questa
nuova ricerca sono emersi elementi tali da sollevare dubbi sulla autenticità
della Gioconda esposta al Louvre e hanno guidato l'autore dell'indagine a
raccogliere prove a sostegno di tale ipotesi: per esempio, la perizia
realizzata nel 1913, che aveva lo scopo d'accertare l'autenticità del dipinto è
risultata priva di fondamenti oggettivi. L’Autore recupera poi alcune
testimonianze storiche e indizi che fanno supporre che il Peruggia portò a
Firenze una copia, si auto-denunciò del furto e ne ottenne dei vantaggi
finanziari. E Ancora, Pascal Cotte, del prestigioso laboratorio francese
Lumiere tecnologie che ha realizzato un'accurata indagine sulla Gioconda del
Louvre, commissionata dallo stesso museo, dopo vari anni, scaduto l'impegno di
segretezza con il museo, ha reso noto che nell'ultimo strato della Gioconda,
quello che precede il dipinto che tutto il mondo ammira, figura una disegno di
una donna più giovane e senza somiglianze con la dama dallo sguardo sfuggente e
dal sorriso enigmatico. La presenza di tale raffigurazione solleva un
interrogativo sull'autore dell'opera. Un quesito che apre una congettura sulla
possibilità che un allievo della Accademia di Leonardo, come era prassi diffusa
nelle botteghe studio di grandi pittori fiorentini, abbia assunto come modello
da riprodurre l'opera realizzata da Leonardo. Altri indizi storici concorrono
ad alimentare la possibilità che la Gioconda del Louvre sia una copia
realizzata dal suo allievo prediletto: il Salai. Il Salai era un personaggio con pochi scrupoli: lo stesso
Leonardo in un dei suoi fogli lo descrive come «ladro, ghiotto e bugiardo».
Dopo più di 25 anni vissuti con Leonardo era perfettamente in grado di
riprodurre fedelmente le opere del maestro. Nel 1517 riceve una forte somma
dalla tesoreria del Re di Francia, presumibilmente per un dipinto venduto.
Sicuramente il Re di Francia non avrebbe pagato una cifra così alta per un
dipinto di uno sconosciuto allievo di Leonardo. Nello stesso testamento del
Salai, dove vengono elencati i dipinti che lascia alle sorelle, si trova la
dicitura “Joconda”. Era sicuramente una copia del famoso dipinto, come è stata
attribuita a lui anche un'altra copia presente in un importante museo
americano. Due Gioconde realizzate da lui. Il libro documento di Silvano Vinceti
confronta questi ed altri elementi (inediti) e conclude che sia giustificata
l’ipotesi che la Monna Lisa esposta a Louvre sia un falso d'autore.
Silvano Vinceti, scrittore, autore e
conduttore televisivo in Rai di programmi storico culturali. Fra gli ultimi
libri pubblicati, nelle nostre edizioni: L’enigma Caravaggio, Porto Ercole
l’ultima dimora di Caravaggio, Francesco il Rivoluzionario di Gesù, Leopardi il
filosofo della speranza, Il segreto della Gioconda, Alla ricerca della
Gioconda. È Presidente del Comitato per la valorizzazione dei Beni Storici,
Ambientali e Culturali. Ha concluso felicemente la ricerca dei resti mortali
della modella della Gioconda.
Clive Barker … monsters from Hell!
The intention of clive Barker to make another film is
clear when you look at his colleagues. Finally, in 2009, Barker's film
production partner used a VHS copy of the 145 - minute mark of the film's mid -
1989 film to recreate the original 159 - minute version, which was released in
2010 at the horror movie Weekend. In 2012, the film professor and film fan
Russell Cherrington created a 155 - minute "Cut of the Cabal ", which
was shown at the Mad Monster Party in North Carolina. As in Burton's film,
Clive Barker wanted to make a film that blurs the lines between good and evil,
man and monster. Barker also said in the film that the seduction scene between
Julia and Frank was initially much more explicit : "We made a version of
the scene that had some scourge in it and the MPAA did not appreciate it very
much. Newman decided that the film was "a step back to the vanguard of
horror movies ", and that the film "reminds us of a great guilleret
intensity that has recently become lazy splashes ". On the occasion of the
30th anniversary of the film, Clive Barker adapted his first drawings of the
"Priest of Hell" to the cenobites in an officially licensed compound
mask. On March 18, 2017, Clive Barker revealed that The film had not made
progress : "The screenplay was written and delivered to size years ago. There
are four chapters in the book, the first three films respectively, and the last
article entitled "the creation of the Cenobites" by Stephen Jones. Two
quotations from the film are also included, one from Larry's character and the
other from Larry's brother, and the main character, Frank : "Don't cry. It
seems that Jones has interviewed the creators of the principle in the creation
of the third film, Doug Jones ( Pinhead ), effects man Bob Keen, and director
Anthony Hickox. In 1987, the writer and director Clive Barker launched
Hellraiser, a classic that forever changed the face of horror movies. In 1987,
the writer and director Clive Barker launched Hellraiser, a classic that
forever changed the face of horror movies. Barker is one of The most prominent
writers of contemporary horror and fantasy, writing in The genre of horror at
The beginning of his career, mainly in The form of short stories ( collected in
Blood 1 - 6 Books ), and a novel by faustus ( 1985 ). Barker was a producer of
Gods and monster movies, which was widely acclaimed by critics. Barker's latest
film as a director has given life to one of his most outstanding creations. Barker
worked closely with director Bernard Rose to bring the film to life, and Rose
had a great visual style and sense of direction to bring the story to the screen.
Frank and Julia do for big antagonists, but it's the Cenobites with their five
- minute screen time and beautiful designs that really steal the show. In
addition to his contributions to the Horror genre, Nathaniel Brehmer also wrote
for the bidding of Horror, HorrorDomain, fear Central, Bloody Horror, We
Covered it and much more. In october 2007, Alexandre Bustillo and Julien Maury
confirmed that they would direct and write the project, with Clive production. 'Bob
Weinstein, who owns the material, sent me a film called Martyrs and I was very
impressed.' I just got to Orlando for the Spooky Empire, to be greeted by the
news through FearNet and Clive Barker Facebook, who is writing a new script of
hell and planning to play Pinhead again. None of the Bacchus's characters were
based on real people - in fact, Ophelia, the dancer, had a little bit of Ann
Taylor who wanted to be a dancer and the perfect prince was Graham Bickley, who
was the most beautiful of the people. Raven Banner Entertainment has now chosen
Jacqueline Ess and plans to create a screenplay for a 3 million dollar movie
based on a short story from Clive in 1984. Unlike many other horror movies of
the time, which deal more with gore than big acting, barkers insisted that they
were looking for real talent in casting. Bradley said that the filmmakers
wanted to make Frank skins on the poster, but the studio did not say so to the
grotesque images, so instead Pinhead was used on the poster. Bradley's head was
everywhere - on the cover of magazines and the film poster - but nobody
mentioned his name. Clive Barker is an openly gay author, painter and
filmmaker, but while the elements of his novels are celebrated for being queer,
it often seems that his films are not considered queer, they are simply films
that happen to be gay. Frank may initially feel ashamed of some of the things
he does, but at the end of the film he is ready to embrace his new lifestyle -
and even be seen licking his lips, while the cenobites welcome him into their
world. When Barker talks about the censorship problems of the film, he says
that a change made to appease the u. s. authorities was a sexual encounter
between Frank and Julia was turned from an act of sodomy to something that was
considered more acceptable.
Cited Sources
https://en.wikipedia.org/wiki/Hellraiserhttps://1428elm.com/2017/12/14/whatever-happened-to-clive-barkers-hellraiser-reboot/
https://www.biography.com/people/clive-barker-20989987
https://www.theguardian.com/film/2017/oct/30/how-we-made-hellraiser-horror-film-pinhead-clive-barker
http://www.clivebarker.info/filmswip.html
https://screenrant.com/hellraiser-clive-barker-script-story-details/
https://www.slashfilm.com/clive-barker-movies-ranked/
https://filmschoolrejects.com/clive-barker-nostaliga/
https://www.dreadcentral.com/news/285209/video-pieces-together-full-plot-of-clive-barkers-unmade-hellraiser-remake/
https://bloody-disgusting.com/editorials/3444058/ranking-clive-barker-adaptations/
https://www.goodreads.com/book/show/264032.The_Hellraiser_Chronicles
https://lwlies.com/articles/shudders-of-pleasure-the-story-of-hellraiser/
https://www.ranker.com/list/scripts-and-screenplays-by-clive-barker/reference
https://www.thrillist.com/entertainment/nation/hellraiser-judgment-review
https://www.amazon.com/gp/product/B07JKDCS9Y/134-5667397-5593760?ie=UTF8&%2AVersion%2A=1&%2Aentries%2A=0
https://offscreen.com/view/hellraiser
https://www.stuff.co.nz/entertainment/film/76308513/null
http://wickedhorror.com/top-horror-lists/ten-best-films-mind-clive-barker/
https://www.reddit.com/r/horror/comments/9vbsy9/hellraiser_remake_from_clive_barker/
http://mentalfloss.com/article/503748/12-sharp-facts-about-hellraiser
https://braincharm.com/2017/11/28/20-spiky-facts-about-the-original-hellraiser-film/
https://www.tor.com/2015/07/28/clive-barkers-nightbreed-movie/
https://www.amazon.co.uk/Hellraiser-Chronicles-Peter-Atkins/dp/1852864230
https://variety.com/2013/film/news/clive-barker-im-writing-a-new-hellraiser-1200761888/
giovedì 21 febbraio 2019
mercoledì 20 febbraio 2019
Don DeLillo … the key of Avant pop!
The "sum panic" of the author in London in
January 98, where a large famous headcount was packed in the TUC Headquarters
and the evening became dizzying because of the confused feeling of being
present in one of the author's fictional scenarios. When Parrish, for example,
joins DeLillo with J Edgar Hoover or Nel, argues that "the desire of Klara
for a Cold World Order seems to be more resolute in the complicated structure
of the book ", each of which is the words and actions of the characters,
as if each one. According to Philip Nel, "In his rich language and
attentive structure, Underworld is the most" high - modernist "novel
to this day, but he also uses advanced techniques In a more subtle way than his
earlier works. For Paul Malty ( in "Don DeLillo's Romantic Metaphysics"
) "to" postmodernize ", it is likely that DeLillo will lose
sight of The ( highly unpostmodern ) metaphysical impulse that his work is
alive. Delillo, who finds the fears of the heart, the hidden poetry of small
life, ties his characters with their greatest cultural moment. Delillo focuses
on three specific cultural pressures : the intoxicating melodrama of the Cold
War, the murder of John Kennedy in 1963, and the overwhelming pressure of
electronic media. Here, as DeLillo sees, a culture has begun its addiction to
show violence, the itching for more graphic sequences, which inevitably defy
the ability to react with the right sensitivity to the sudden and curious
notions of the sacramental dimension of life and the private privilege of
death. Hassan then in his next section offers a definition of postmodernism,
based on the premise that we live or die soon in the realm of
"unimaginable ", where quotidien reality is alien to fiction. Millard
considers it to be a realist novel, without the text interruptions or
autopublications or parody of previous texts, pastiches or inclusion of Pop,
etc. In "Tales of the Electronic Tribe" Frank Lettricchia evokes more
of the three - dimensional mantra and explains their presence in the text. How
far down and in media culture has come, is illustrated by the most striking
moment of the novel - an attempt to represent the inattention of the
unconscious - the variations on which it is played. Because it is Jack's
complete failure to realize the magnitude of Babette's fear of death, which
leads to the surprising peripeteia and anagnorisis ( reversal and recognition )
in Chapter 26, which in turn leads to the black comedy of a failed murder at
the end. And in terms of plot, the scene is another prolection or anticipation
of Jack's discovery that Babette was not the reassuring maternal figure he
could go to, losing all his fears and anxieties by simply burying his face in
his broad chest. Delillo's understanding of the world is largely due to his
observations of contemporary Western life. A triviality is alive in DeLillo's
fiction, whether it was about the dissolution of the atomic family or the
disappearance of old cultural peculiarities : "Before pop art, there was
such a bad taste.
Delillo's writing creates a rare glow of delight, such
as the "underground passage ", in which a character reflects a word
appearing on his computer screen - a word that resonates with today's war base.
Delillo's writing creates a rare glow of delight, such as the "underground
passage ", in which a character reflects a word appearing on his computer
screen - a word that resonates with today's war base. Edgar Hoover therefore
imagines the nuclear arms race as a conflict between "Us and Them ",
although there is also a deep, almost erotic connection between the two of you,
who are deeply finished ( U. 51 ). Re - imagining the history of art as a
history of waste treatment, the self - destructive commentary shows how the
American industry creates its own ideology with the goods and weapons it
produces. In addition to The fact that graffiti can only be seen, graffiti also
attracts public attention to The ghetto urban communities that America doesn't
want to recognize : "The whole point of Moonman's label was how letters
and numbers told The story of The" background of life "( U. 434 ). From
attacks on American money markets to bioterrorism at the heart, DeLillo's work
has long predicted a world in which terrorist acts would have unprecedented
historical consequences. In the light of september 11th, Don DeLillo's America
can help many readers to feel like a new, uncertain world.
Cited Sources
https://en.wikipedia.org/wiki/Don_DeLillo http://jeffmacintyre.com/clips/articles/don-delillo/
http://oxfordre.com/literature/view/10.1093/acrefore/9780190201098.001.0001/acrefore-9780190201098-e-559
https://www.miamiherald.com/entertainment/books/article74696902.html
https://www.nytimes.com/1985/01/13/books/white-noise-by-don-delillo.html
https://www.theguardian.com/books/2016/may/10/don-delillo-white-noise-a-novel-way-of-dismantling-consumerism
https://www.theguardian.com/books/2010/aug/08/don-delillo-mccrum-interview
https://www.goodreads.com/book/show/11761.Underworld
https://delillosociety.com/
https://www.salon.com/2001/10/23/delillo_4/
https://www.rollingstone.com/culture/culture-news/qa-don-delillo-69452/
https://www.barnesandnoble.com/blog/where-to-start-guide-don-delillo/
https://thepointmag.com/2010/criticism/don-delillo
https://www.theatlantic.com/magazine/archive/1997/10/an-underhistory-of-mid-century-america/376979/
https://duclarion.com/2015/03/best-of-contemporary-writers/
https://journals.openedition.org/caliban/1753
https://www.simonandschuster.com/books/Zero-K/Don-DeLillo/9781501138072
https://fivebooks.com/best-books/chad-harbach-novels-sport/
https://www.newyorker.com/magazine/2003/03/31/one-way-street
https://thequietus.com/articles/24105-don-delillo-white-noise-essay
https://spikemagazine.com/structure-and-subatomics-don-delillo-underworld-and-the-new-historical-novel/
https://www.popmatters.com/till-human-faces-wake-us-don-delillos-zero-k-2495432104.html
https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduate/modules/fulllist/special/en304/en304furtherresources/ddelillo/
https://observer.com/2002/08/delillo-pretentious-stupid-literary-pugilists-throw-punches/
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