Stanley Kubrick: La Soggettiva Del Cadavere – di Vito Zagarrio

2019-03-24T09:34:53+00:00February 9th, 2018|CINEMA|

La Storia, diceva ancora Baudrillard, è uno scenario rétro, è un “cadavere” che si può mettere in scena, un "fossile” che può essere rappresentato e “simulato”. «La Storia fa così il suo ingresso trionfale nel cinema a titolo postumo». Baudrillard no­tava come questa riapparizione della Storia non avesse un valore di presa di coscienza, ma di nostalgia di un referente perduto.

STANLEY KUBRICK: AT A DISTANCE – Interview by Lloyd Rose

2017-10-07T08:43:56+01:00August 28th, 2017|CINEMA|

by Lloyd Rose PINEWOOD GREEN, ENGLAND – The board room at Pinewood Studios is disturbingly baroque. The ceiling sags with chandeliers. Gilt-edged paneling dresses every inch of wall. At one end a cold-eyed movie mogul, the late J. Arthur Rank, grins from his painted portrait. It hangs above a sideboard [...]

Full Metal Jacket (1987) – Review by Janet Maslin [The New York Times]

2019-11-10T11:29:05+00:00July 5th, 2017|CINEMA|

Stanley Kubrick's Full Metal Jacket establishes its grip on the viewer's attention instantaneously, with an opening scene in which young recruits are shorn by an off-screen Marine Corps barber, while a corny, lulling song is heard in the background ("Kiss me goodbye and write me when I'm gone/Goodbye sweetheart, hello Vietnam").

Full Metal Jacket (1987) – Review by Pauline Kael

2019-11-11T19:55:24+00:00January 19th, 2017|CINEMA|

Chances are that when Stanley Kubrick’s Vietnam film Full Metal Jacket is at midpoint a lot of moviegoers will be asking themselves what it’s going to be about, and when it’s over they still won’t know.