Los 50 años de cuatro obras maestras Noches de Cine Italiano ...

El Instituto Italiano de Cultura organiza un nuevo ciclo de cine dedicado a “Los 50 años de cuatro obras maestras” que se iniciará este jueves 3 con la película Las manos en los bolsillos (1965) de Marco Bellocchio, con Lou Castel, Paola Pitagora, Marino Marsè, Pier Luigi Troglio, Liliana Gerace, Jeannie McNeil. Presentación de la película a cargo de los críticos cinematográficos Sebastián Pimentel y Leny Fernández. Auditorio del Instituto Italiano de Cultura (Av. Arequipa 1055, Santa Beatriz) a las 6 p.m. El ingreso es libre.

En los montes cerca de Piacenza, en un chalet antes lujoso y actualmente en ruinas, vive una familia burguesa casi totalmente aislada. La madre tiene cuatro hijos, está ciega y no se ocupa de su educación ni de la administración de la casa. Augusto, el hijo mayor y jefe de familia, parece estar siempre pensando en el momento en que se marchará de esa casa. Sus hermanos Alessandro, Leone y Giulia muestran trastornos mentales. Toda la familia vive en un malestar profundo, situaciones penosas e insalubres

Continúa el ciclo el jueves 10 con  Julieta de los espíritus (1965), de Federico Fellini, con Giulietta Masina, Sandra Milo, Mario Pisu, Valentina Cortese, Valeska Gert, José Luis de Villalonga, Friedrich von Ledebur, Caterina Boratto, Lou Gilbert, Luisa Della Noce, Silvana Jachino, Milena Vukotic, Fred Williams, Dany París, Anne Francine, Sylva Koscina.

Giulietta, que duda de la fidelidad y del amor de su marido, acude a reuniones espiritistas buscando un consejo, una verdad, una señal que le haga ver que él aún siente cariño por ella y que puede recuperarlo. Por casualidad, conoce a Susy, perniciosa mujer que sólo vive para el amor y que está a punto de dar al traste con las ilusiones de Giulietta.

Para el jueves 17 está programada Casanova ’70 (1965) de Mario Monicelli, con Marcello Mastroianni, Virna Lisi, Marisa Mell, Michèle Mercier, Enrico Maria Salerno, Liana Orfei, Guido Alberti, Beba Lončar, Moira Orfei, Margaret Lee.

Andrea Colombetti, un mayor italiano destacado en las fuerzas de la OTAN, es experto en seducir a las mujeres con algunas dosis de adrenalina. Algo sale mal y su psicólogo le aconseja unas vacaciones relajantes. Pero el juego de la seducción no termina…

El ciclo finaliza el jueves 24 con Yo la conocía bien (1965) de Antonio Pietrangeli, con Stefania Sandrelli, Mario Adorf, Jean-Claude Brialy, Nino Manfredi, Ugo Tognazzi, Robert Hoffmann, Joachim Fuchsberger, Enrico Maria Salerno, Karin Dor, Franco Fabrizi, Franco Nero, Veronique Vendell.

Adriana, una muchacha que vive en provincia, se traslada a Roma para buscar fortuna en el mundo del espectáculo. Una vez en la capital colecciona amantes y oficios, desde anuncios hasta pequeños papeles en el cine. Es guapa e ingenua, por lo que muchos hombres intentan aprovecharse de ella.

Source:

http://ift.tt/1O4ufxc

The Late News from http://ift.tt/19ljLK6

Read more ...

: Pasatiempo - The Santa Fe New Mexican

IAIA 101: a survey course

By Jennifer Levin

IAIA 101: a survey courseSouth of I-25, deep in the vastness of Rancho Viejo on Avan Nu Po Road, is the Institute of American Indian Arts, better known as IAIA. It’s the only congressionally chartered tribal college in the country. Since the new campus opened in 2000, buildings have gone up based on the availability of federal and privately raised funds.

Source:

http://ift.tt/1mlpqmL

The Late News from http://ift.tt/19ljLK6

Read more ...

Adjectivals: Relative Clauses - Magical Words

As promised, today I’m going to be dealing with relative clauses.

A brief recap: a clause is a series of words that contains both a subject and a predicate; a clause may or may not be independent (a sentence).

Relative clauses are dependent, they identify the nouns they modify, and they often immediately follow the nouns or pronouns that they modify.

As dependent clauses, they never stand on their own as a sentence.

Identifying the noun:

Like adjectival prepositional phrases, relative clauses answer questions like “what kind?” and “which one?”

So: The washing machine broke again.

This is a straightforward sentence; it has the traditional subject/verb construction; it is in the active voice; and it has one modifier, again, an adverb modifying “broke.”

Well, which washing machine? what kind of washing machine is it?

The washing machine, which I hate with all my heart, broke again.

The relative clause, beginning with a relative pronoun, modifies “washing machine” (more specifically, “machine”). It tells us either which machine (possibly there are several so it is the specific one I hate), or what kind (the category of machines I hate). Also, it is a clause; it has a subject and a verb, and in this case, a direct object. If we were to write the relative clause as we do normal sentences (subject / verb / direct object) it would look like this: I hate which with all my heart. Of course this is awkward and we’d never use it, but it allows you to see how the relative clause works grammatically.

The word(s) that the relative clause modify are called the antecedent. (“Ante-” meaning before). So the antecedent to our relative clause is “machine.”

Notice that the first word in the relative clause almost always the relative pronoun whose antecedent is the noun it modifies.

Common relative pronouns (or pronouns that can also be used as relative pronouns) include: which, that, what, who, whom, and whose. On occasion, relative clauses can lead with relative adverbs: when, where, and why. For example: The closing ceremony will be held in the gym where we first gathered.  Here, the modifying clause is “where we first gathered” and adds more information to “gym.”

The choice of relative pronoun (do I use which? do I use that?) is based on the content of the sentence. Rather than explain it, I’ll just refer you to Melissa’s awesome post about it here.

Relative clauses, like prepositional phrases and single-word adjectives, give us ways of adding information for our audience. They allow us to collapse multiple pieces of info into one sentence. For example:  “The books are missing. They are the books that were on the table.” Lots of unnecessarily repeated info there!  How about “The books, which were on the table, are missing!”

Next time, I’m going to start a series of posts about words and how we can break them down into their parts and rebuild them, and how we can make up our own words.

Source:

http://ift.tt/1Eh3eXv

The Late News from http://ift.tt/19ljLK6

Read more ...