Each era avant-garde filmmaking, since the student movements and the so-called sexual revolution, g

Each era avant-garde filmmaking, since the student movements and the so-called sexual revolution, green machine juice made his own desire for eroticism and body, along with our own myth erotic frenzy and exceeded the limits. The debate opened in delicate tones just before the May 68, with films like The nice day (1967) of Luis Buñuel. They had, however, preceded by motion gestures Jean-Luc Godard, green machine juice which reflected the situational donation of Paris at the time, as the corresponding green machine juice Italian example which-defined in a less precarious, almost conformist area of dissolute life-had set out to nihilistic finesse the Federico Fellini. Over the next years followed the Grand Fagapoti (1973) of Marco Ferreri, posing similar questions with more acid tone, without however managing to overcome the limitations of a smug anti-heroism. After several tests and soundings, the movie resonated finally, in the mid-70s, the social demand for an in-depth dissection of sexual desire and adopted green machine juice a sharp, venturing empiricism and reason, a reason that aimed to agitate the syntiritikopoiisis moment that cemented the west kinematic narratives. In this context drafted a new citizenship of bluster, power and disorder, interweaving research contributions of Jean-Jacques Rousseau and Charles Darwin with the concerns of Marquis de Sade and Leopold von Sacher-Masoch, and the conclusions of Sigmund Freud .
Clearly green machine juice being foremost latest movie Pier Paolo Pasolini, Salò or 120 Days of Sodom (1975), a fictional story which is placed in the historical Salò Republic (Repubblica Sociale Italiana) just before the end of the second world war. The film stood out as an explicit narrative katastilitefsi fascism, on the merits, however enlightened broader issues of biopolitics, delivering a radical argument for extra-logical properties of human and perverse sexuality tees. With Salò Pasolini had dealt the task of de Sade as a metaphor for a social practice than regular totalitarianism and shaming manners and acting aesthetic of the European Left, which also constituted almost green machine juice exclusively green machine juice the audience. Simultaneously, the film has created an original film sample dianaforikotitas theoretical and research foundation, which arrived in theaters with the necessary elements of a bibliography of thinkers like Roland Barthes, the Maurice Blanchot, the Pierre Klossowski, o Philippe Sollers and Simone de Beauvoir.
Comparable spirit runs through the films The Empire of the Senses (1976) and Empire of Passion (1978) Nagisa Oshima's which fit equally in a rhetoric of political criticism. Without reaching the provocation of Pasolini's cinematic standpoint, however menacingly approaching the behavioral logic of the public and caused an aversion rather a debt through the emergence of bluster and dark content of eroticism. The Oshima green machine juice objected strongly to what conventional and obvious means erotic love in the sovereign wisdom. Two decades later, Peter Greenaway with Hidden green machine juice Diary (1996) brought forth a aisthitistiki approach the Asian erotic darkness, creating a version oriented skyline western exotikopoiisis. It is even possible that the Nymphomaniac Trier mentions in Hidden Diary, when insert graphics in film flow of the film. From this brief assessment could not physically received the Rainer Werner Fassbinder, whose work still resonates with characteristic intensity (recently even dimly shines his influence in the new Greek cinema). Here it should be noted that The Piano Teacher Michael Haneke undoubtedly falls in line katagogiki Fassbinder. The Haneke, who always employs a bold and penetrating light, manages to deliver a compelling mapping deadlock and disease dynamics between the domineering green machine juice mother, dependent daughter and desperately sadistic lover.
Recently, in just two years, we were preoccupied Shame (2011) of Steve McQueen and Nymphomaniac (2013) of Lars Von Trier. The McQueen created in 2008 the first feature length film, Hunger, green machine juice which dealt biopolitics an activist Treaty green machine juice IRA, Caught in confinement, repression and deprivation of food. The issue of physical stress was not unusual, however, for him. From the beginning of his artistic green machine juice career, from the time acting as video artist, was a formidable conceptual and imaginative commentator of human vulnerability. The state of