FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Federico Fellini”s film “Juliet of the Spirits” Part 243 Featured artist is Keltie Ferris

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Juliet of the Spirits

From Wikipedia, the free encyclopedia
Juliet of the Spirits
Juliet of the Spirits poster.jpg

Theatrical release poster
Directed by Federico Fellini
Produced by Angelo Rizzoli
Screenplay by Federico Fellini
Tullio Pinelli
Ennio Flaiano
Brunello Rondi
Story by Federico Fellini
Tullio Pinelli
Starring Giulietta Masina
Sandra Milo
Mario Pisu
Valentina Cortese
Valeska Gert
Music by Nino Rota
Eugene Walter
Cinematography Gianni Di Venanzo
Edited by Ruggero Mastroianni
Release date
  • 22 October 1965 (France)
  • 23 October 1965 (Italy)
Running time
144 minutes[1] (Original Italian release)
137 minutes
Country Italy
France
Language Italian
French

Juliet of the Spirits (Italian: Giulietta degli spiriti) is a 1965 Italian-French fantasy comedy-drama film directed by Federico Fellini and starring Giulietta Masina, Sandra Milo, Mario Pisu, Valentina Cortese, and Valeska Gert. The film is about the visions, memories, and mysticism of a middle-aged woman that help her find the strength to leave her philandering husband.[2] The film uses “caricatural types and dream situations to represent a psychic landscape.”[3] It was Fellini’s first feature-length color film, but followed his use of color in the The Temptation of Doctor Antonio episode in the portmanteau film Boccaccio ’70 (1962). Juliet of the Spirits won a Golden Globe Award for Best Foreign Language Film in 1966.

Plot[edit]

Giulietta explores her subconscious and the odd lifestyle of her sexy neighbour, Suzy, as she attempts to deal with her mundane life and her philandering oppressive husband, Giorgio. As she increasingly taps into her desires (and her demons) she slowly gains greater self-awareness leading to independence although, according to Fellini’s wife, the real-life Giulietta, this end result may be interpretable.[4]

Cast[edit]

Production[edit]

Juliet of the Spirits was shot at Cinecittà Studios, Cinecittà, Rome, Lazio, Italy; Fregene, Fiumicino, Rome, Lazio, Italy; and Safa-Palatino, Rome, Lazio, Italy (studio).[6]

Awards and nominations[edit]

Reception[edit]

Juliet of the Spirits holds an 86% on Rotten Tomatoes. In The New York Times, Stephen Holden wrote of a revival in 2001: “Fellini went deliriously and brilliantly bananas with the color to create a rollicking through-the-looking-glass series of tableaus evoking a woman’s troubled psyche.”[8]

References[edit]

  1. Jump up^ JULIET OF THE SPIRITS (15)”. British Board of Film Classification. 1966-01-26. Retrieved 2013-01-26.
  2. Jump up^ “Juliet of the Spirits”. Internet Movie Database. Retrieved 29 April 2012.
  3. Jump up^ Constantini, 188
  4. Jump up^ Ebert, Roger (5 August 2001). “Reviews – Great Movie – Juliet of the Spirits (1965)”. RogerEbert.com. Retrieved 4 July 2014.
  5. Jump up^ “Full cast and crew for Juliet of the Spirits”. Internet Movie Database. Retrieved 29 April 2012.
  6. Jump up^ “Locations for Juliet of the Spirits”. Internet Movie Database. Retrieved 29 April 2012.
  7. Jump up^ “Awards for Juliet of the Spirits”. Internet Movie Database. Retrieved 29 April 2012.
  8. Jump up^ Holden, Stephen (May 18, 2001). “Rediscovering Color In a Fellini Fantasy”. The New York Times. Retrieved October 25, 2016.
Bibliography
  • Fellini, Federico, and Costanzo Costantini, ed. Fellini on Fellini. London: Faber and Faber, 1995. ISBN 0-571-17543-0

External links[edit]

Francis Schaeffer below in his film series shows how this film was appealing to “nonreason” to answer our problems.

In the book HOW SHOULD WE THEN LIVE? Schaeffer notes:

Especially in the sixties the major philosophic statements which received a wide hearing were made through films. These philosophic movies reached many more people than philosophic writings or even painting and literature. Among these films were THE LAST YEAR AT MARIENBAD by Alain Resnais (1961), THE SILENCE by Ingmar Bergman (1967), JULIET OF THE SPIRITS by Federico Fellini (1965), BLOW UP by Michelangelo Antonioni (1966), BELLE DE JOUR by Luis Bunuel (1967), and THE HOUR OF THE WOLF by Ingmar Bergman (1967).

They showed pictorially (and with great force) what it is like if man is a machine and also what it is like if man tries to live in the area of non-reason. In the area of non-reason man is left without categories. He has no way to distinguish between right and wrong, or even between what is objectively true as opposed to illusion or fantasy….One could view these films a hundred times and there still would be no way to be sure what was portrayed as objectively true and what was part of a character’s imagination. if people begin only from themselves and really live in a universe in which there is no personal God to speak, they have no final way to be sure of the difference between reality and fantasy or illusion.

But Bergman (like Sartre, Camus, and all the rest) cannot really live with his own position. Therefore in The Silence the background music is Bach’s Goldberg Variations. When he was asked in the filmed interview about music, he said that there is a small holy part of the human being where music speaks. Bergman also said that while he was writing the script for the film SILENCE that he had the music of Bach’s Goldberg Variations playing in his home and the music interfered with that which was being set forth in that film.

A good example is Antonioni’s BLOW UP. The advertisement for the film read: “Murder without guilt, love without meaning.” Antonioni was portraying how, in the area non-reason, there are no certainties concerning moral values, and no human categories either. BLOW UP had no hero. Compare this with Michelangelo’s DAVID–that statement of humanist pride in the Renaissance. Man had set himself up as autonomous, but the end result was not Michelangelo’s DAVID, but Antonioni’s non-hero. All there is in the film is the camera which goes “click, click, click,” and the human has disappeared. The main character snaps pictures of individual things, particulars. One might point out, for example, the models he snaps: all their humanity and meaning are gone.

After a scene in which clowns play tennis without a ball, there is at the end of the film a reverse zoom shot in which the man who is the central character disappears entirely, and all that remains is the grass. Man is gone. Modern people, on their basis of reason, see themselves only as machines. but as they move into the area of non-reason and look for their optimism, they find themselves separated from reason and without any human or moral values (pp. 201-203)

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Francis Schaeffer – How Should We then Live – 07.The Age of Non Reason

from CaptanFunkyFresh6 years ago

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Modernism and Post-Modernism | An Analysis of Blow-Up

Published on Apr 24, 2014

My video essay analyzing the 1966 film Blow-Up. A full list of sources are available in the credits.

Questions and criticism are welcome in the comments.

BLOW-UP (1966) Movie Review (non-spoiler)

Published on Sep 25, 2015

Follow me on twitter here: https://twitter.com/deepfocuslens

Like my Facebook page here: https://www.facebook.com/deepfocuslens

AGE OF FRAGMENTATION

I. Art As a Vehicle Of Modern Thought

A. Impressionism (Monet, Renoir, Pissarro, Sisley, Degas) and Post-Impressionism (Cézanne, Van Gogh, Gauguin, Seurat): appearance and reality.

1. Problem of reality in Impressionism: no universal.

2. Post-Impression seeks the universal behind appearances.

3. Painting expresses an idea in its own terms as a work of art; to discuss the idea in a painting is not to intellectualize art.

4. Parallel search for universal in art and philosophy; Cézanne.

B. Fragmentation.

1. Extremes of ultra-naturalism or abstraction: Wassily Kandinsky.

2. Picasso leads choice for abstraction: relevance of this choice.

3. Failure of Picasso (like Sartre, and for similar reasons) to be fully consistent with his choice.

C. Retreat to absurdity.

1. Dada , and Marcel Duchamp: art as absurd. (Dada gave birth to Surrealism).

2. Art followed philosophy but came sooner to logical end.

3. Chance in his art technique as an art theory impossible to practice: Pollock.

II. Music As a Vehicle of Modern Thought

A. Non-resolution and fragmentation: German and French streams.

1. Influence of Beethoven’s last Quartets.

2. Direction and influence of Debussy.

3. Schoenberg’s non-resolution; contrast with Bach.

4. Stockhausen: electronic music and concern with the element of change.

B. Cage: a case study in confusion.

1. Deliberate chance and confusion in Cage’s music.

2. Cage’s inability to live the philosophy of his music.

C. Contrast of music-by-chance and the world around us.

1. Inconsistency of indulging in expression of chaos when we acknowledge order for practical matters like airplane design.

2. Art as anti-art when it is mere intellectual statement, divorced from reality of who people are and the fullness of what the universe is.

III. General Culture As the Vehicle of Modern Thought

A. Propagation of idea of fragmentation in literature.

1. Effect of Eliot’s Wasteland and Picasso’s Demoiselles d’ Avignon

compared; the drift of general culture.

2. Eliot’s change in his form of writing when he became a Christian.

3. Philosophic popularization by novel: Sartre, Camus, de Beauvoir.

B. Cinema as advanced medium of philosophy.

1. Cinema in the 1960s used to express Man’s destruction: e.g. Blow-up.

2. Cinema and the leap into fantasy:

 

The Hour of the WolfBelle de JourJuliet of the Spirits,

The Last Year at Marienbad.

3. Bergman’s inability to live out his philosophy (see Cage):

Silence and The Hour of the Wolf.

IV. Only on Christian Base Can Reality Be Faced Squarely

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Featured artist is  Keltie Ferris

Keltie Ferris

Keltie Ferris was born in 1977 in Lexington, Kentucky, and lives and works in New York. Making references to Impressionism and abstract painting as well as Pop art and graffiti—from Matisse and Mondrian to Rauschenberg and Hammons—her large-scale paintings are staunchly analog, despite the ease with which they can be read digitally.

Her investigations into the relationship between her body and the canvas have resulted in signature body prints and emphasize the artist’s fixation with abstraction. Her process for these works—layering images created by pressing her oil-covered body against the canvas surface, and then brushing or spraying pigment onto it—is one of simultaneous concealing and exposing.

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