“Mr Hemingway says a lot of things I don’t understand, Matilda said to her. ‘Especially about men and women. But I loved it all the same. The way he tells it I feel I am right there on the spot watching it all happen.’ ‘A fine writer will always make you feel that,’ Mrs Phelps said . ‘And don’t worry about the bits you can’t understand. Sit back and allow the words to wash around you, like music.”
The critics are right: Almódovar is not the same. Julieta, his latest movie, is nothing like Women on the Verge of a Nervous Breakdown, which catapulted the Spanish director to international fame almost thirty years ago.
Julieta is more mature, serious and, in many respects, a lot better, reflecting the evolution and progressive refinement of a seasoned maestro. Of course, some fans will miss the raw humor and shock value of his earlier movies, which celebrated la movida madrileña, the cultural movement of the late 70s and early 80s that stood in direct opposition to the values and life style of Franco’s dictatorial years. In those days of la movida, it was necessary to burn the cultural bra to make a point. Those times are over, though. Besides, for more nostalgic viewers, quite a few of his movies of that era are available on Netflix, at your fingertip.
Julieta, on the other hand, belongs to the 2010s. It is allowed – strike that; required is the precise word – to be simpler and more contained. Nevertheless, it has kept the director’s inimitable voice and style: the bright colors, the Madrid touch, and the inscrutable strong women are still there. And even Rossy the Palma, one of the muses of his early years as a filmmaker, makes a comeback; her wondrous nose, uneven eyes and twisted mouth working their magic, in the role of a modern-day Cassandra.
I find it unbelievable that many critics will say that Almodóvar has never mastered the skills to tell a story. His narrative powers are weak, some say. Obviously, these critics abide by only one model of storytelling: the commercial cinema of Hollywood. Although I respect the claim that some narrative elements and archetypes make themselves present one way or another in every story ever told, they should be rearranged in as many different ways as creative directors can come up with. Almodóvar’s storylines do follow a structure – although an idiosyncratic one. Digression plays a big part in his method.
Without the digression, Julieta would be a simple tale about guilt. It’s the digressions that allow Almodóvar to present the viewer with unique images (an elk running in slow motion alongside a moving train at night; the bluest sea shown though the open windows of a living room in Galicia; the Swiss Alps shot in all their glory); intriguing metaphors: references to Homer’s Odyssey and the power of the sea to entice men like Ulisses and Xoan, pulling them from the safety of their houses and the comfort of their families; and one of the most original transitions between youth and old age in movie history: actress Adrian Ugarte is replaced by Emma Suárez at the sudden removal of a red tower.
Julieta is a delight to the eyes. You could just sit back for hours watching these beautiful women move around in fashionable clothes, stepping in and out of fascinating Madrid buildings, walking along its narrow cobblestone streets or just sitting in close-up against the backdrop of stunningly decorated apartments.
With the help of great actors and a stunning musical store by Alberto Iglesias, Almodóvar turns the straightforward story of a family marked by tragedy into a Hitchockian thriller – with echoes of Vertigo. Viewers will be met by twists and little surprises at every turn, relishing the journey. Almodóvar has developed the fearlessness of those who have nothing more to prove. He shoots his movies out of sheer pleasure. Who can blame him?
“A man who takes no interest in politics has no business here at all.”
Pericles (495 – 429 BCE)
Teaching English with Art: Winslow Homer. This eighth volume of our successful series of eBooks combining ENGLISH TEACHING AND ART is a wonderful supplement to any coursebook or extra materials your students may already be using in the English class. It contains 30 vocabulary, speaking and writing activities for classroom use, based on some of the most striking works by the best American artist of the XIX century.
The objective of the eBook is to expose the students to art while teaching English, fulfilling therefore one of the tenets of effective language acquisition: providing a realistic context for the language to be learned and practiced as a means to an end. Your students will love to exercise their English discussing the works of Winslow Homer. This is a proven way to make language acquisition fun and effective by creating in the classroom an atmosphere of interest, motivation and emotion. Each activity is clearly correlated to the COMMON EUROPEAN FRAMEWORK OF REFERENCE (CEFR), and the level is stated next to it.
IMPORTANT NOTE. CUSTOMIZATION: if you wish to change the cover of any of the ebooks, add your school logo, negotiate a special price for a determined number of students, or make other suggestions of customization, do not hesitate to talk to us. We are VERY FLEXIBLE. Make your ebook UNIQUE!
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Vincent van Gogh was born in the village of Groot-Zundert, south of the Netherlands on March 30, 1853, to upper middle class parents. His father was a protestant pastor and the family lived in the parsonage near the border with Belgium. His family: father, mother, and five siblings were very important to the artist all his life. He had a love-and-hate relationship with them, especially his father Dorus, breaking up with him a number of times, but always patching things up and trying to reconcile with them. Reliving the peace and harmony of his childhood days in the Zundert parsonage, when the whole family lived together remained an obsession and an impossibility throughout van Gogh’s life.
Before he launched his career as an artist in 1880, van Gogh worked as an art dealer in the business of richer members of his family (Goupil and Cie), a teacher and an evangelist, never quite managing to succeed in any of these jobs. He was not lucky at love either, having been rejected by a cousin, which caused him, heartbroken, to decide to live with a prostitute, Sien, and her son for a couple of years. He claimed it was his duty to rescue her.
He considered himself a failure for not being able to find a place in society and to follow a proper career, blaming sometimes himself and other times the lack of support and vision of his family and acquaintances for not finding a professional role. His parents were in fact ashamed of his lonesome and difficult eldest son. In spite of all this, he spent most of his life living off the financial support of his father and, then, his brother Theo, 6 years his junior, with whom he developed a strong bond and carried out an extensive written correspondence. It’s through these letters that we know so much about the convoluted life and inner feelings of this artist.
Vincent van Gogh lacked interpersonal skills, was awkward in society, and full of contradictory feelings. Having trouble getting along with people in general was perhaps the main reason he was not able to keep the many jobs he held. He was eccentric, explosive and reclusive. Under the advice of his brother Theo, he finally found his true path as an artist. But, at the beginning he refused to produce anything commercial, so he could not live off his craft and talent. He focused on painting the human figure, especially members of the lower classes. And he didn’t like to use color. His drawings were mostly in black and white, made with pen or charcoal, or paintings in drab colors. He only drew and painted what he wished, never making any concessions to the market’s taste, which made his financial life very hard.
As we mentioned before, his favorite subject at the time was the human figure, and he was always striving to hire models among the common people of the various towns he lived in: peasants, miners, weavers and prostitutes. Most of them found it very hard to work with him, and he was always requiring more money from Theo to be able to hire more professional models in places like Antwerp, where he lived for a while.
Only when he moved to Paris in the late years of his short life, sharing a space with Theo, he started to fully develop as an artist, incorporating in his painting traits of the Impressionists – which were becoming very popular at the time – Japanese art, the social works of Manet and Courbet, features of the English landscapist John Constable, the pointillism of Seurat, among other influences. It was then that he started to use bright colors, leaving the drabness and the gloominess of his previous drawings and paintings behind.
In February 1888, he moved to Arles, in the south of France, to make use in his paintings of the bright colors under the Provence sun. There, he rented and lived in what became the famous Yellow House of his biography, initiating one of the most productive periods of his career, painting from day to night, sometimes finishing 3 works a day. Vincent dreamed of turning the place into a utopian community for modern artists – the Studio of the South – where they could work together, exchange ideas and create something unique, based on the strong influences of the past masters and yet innovating painting radically. He aimed for a new Renaissance.
In October 1888 the French painter Paul Gauguin came to Arles to live and work with van Gogh. They had a very tense and tumultuous relationship, though, which ended up with Gauguin leaving the house a couple of months after his arrival. Vincent was left in such an unstable mental state after the quarrel with Paul that he allegedly cut off part of his ear and sent it to a prostitute. He was committed to mental institutions twice after that.
Despite all the external influences van Gogh incorporated in his work, his paintings and drawings remained true to his deep feelings and notions of art. He developed idiosyncratic traits as an artist and imbued his landscapes, portraits, and still lives with his own very unique style, characterized by the use of bright and sometimes unusual combination of colors, large brushstrokes, and fine draftsmanship, which turned his works into effective channels to express his innermost feelings. The seeds of the XX’s century expressionism have been identified in van Gogh’s final and most famous woks.
His most famous paintings were produced during the last two years before his suicide on July 29t, 1890, at age 37. Out of more than 900 pieces of work he put out throughout his short but productive career, only one painting – The Red Vineyards Near Arles – was sold while he was still alive.
He never foresaw how successful he would become, although he was fully aware of how powerful his work was and never doubted his talent and vision as an artist. Today, his paintings sell for tens of millions of dollars, and he’s one of the most famous and beloved artists of Western culture. Among his most recognized paintings, we can list masterpieces such as The Potato Eaters, The Yellow House and Starry Night.
If you wish to a have a chance to discuss and practice English vocabulary, speaking and writing skills based on some of the invaluable works of this unique artist, please check out our series of supplementary materials TEACHING ENGLISH WITH ART, featuring, works not only by van Gogh, but also by Matisse, Picasso, Caravaggio, Monet and Norman Rockwell so far. New materials are scheduled to come out in the near future, watch this space.
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Teaching English with Art: Vincent van Gogh. This seventh volume of our successful series of eBooks combining ENGLISH TEACHING AND ART is a wonderful supplement to any coursebook or extra materials your students may already be using in the English class. It contains 30 speaking and writing activities (now including specific vocabulary exercises) for classroom use, based on some of the most striking works by one of the most beloved and controversial artists of Western Culture, VINCENT VAN GOGH.
The objective of the eBook is to expose the students to art while teaching English, fulfilling therefore one of the tenets of effective language acquisition: providing a realistic context for the language to be learned and practiced as a means to an end. Your students will love to exercise their English discussing the works of van Gogh. This is a proven way to make language acquisition fun and effective by creating in the classroom an atmosphere of interest, motivation and emotion. Each activity is clearly correlated to the COMMON EUROPEAN FRAMEWORK OF REFERENCE (CEFR), and the level is stated next to it.
Click on the image below to download the ebook:
Check out the video clip on the ebook TEACHING ENGLISH WITH ART: VINCENT VAN GOGH
For other books of our series, click here: http://wp.me/p4gEKJ-1lS
We had The Sopranos, Mad Men and Breaking Bad. All these shows made history by breaking new ground in televison, focusing on the excellence of scripts, stunning acting and great premises.
The Sopranos dared to show in our living rooms how disturbingly “normal” a Mob family could look as seen from the inside, and thus struck a powerful blow on corporate America by likening the lifestyle and “business” methods used by Mob leader Tony to those commonly employed by CEOs of huge companies throughout the world.
Mad Men is all about contrasting society’s habits and especially womens’s position in the workplace by focusing on a a group of advertisers in the 1960s – the coolest professional category at the time – and having us analyse the context with today’s eyes. Has it changed that much? Do men, although behaving more subtly, still have the same demeaning attitudes towards women in the workplace? Food for thought. In addition to that, for those who work in the area of marketing, as I do, it’s fascinating to see how simple and direct it was for those Madison Avenue guys to lure and entice customers back in the sixties, when companies kept all the power of communication, especially through television, as opposed to the shift and landslide caused but the Internet and social media these days, which have given the customer a lot more voice and power in dealing with product/service sellers.
Walter White, the iconic protagonist of Breaking Bad, taught us that not all human beings are stable enough to maintain a solid and permant state of sanity and acceptable social behavior intact when exposed to extreme circumstances and under brutal pressure (in his case, the fact that cancer would eventually kill him and leave his family – wife and two kids – financially unprotected, after years of slaving away as a chemistry school teacher). He decides then to use his brilliant knowledge as a scientist to start a new and illegal business, becoming the fearless and cold-blooded drug dealer Heisenberg. Again, it’s been said that watching the show would easily substitute for a formal business course at Harvard! More than that, however, it demonstrates the lengths a person will go and the changes in personality that may occur as the result of one’s feeling abused and wronged by the institutions of one’s community.
Now we are watching another one of these groundbreaking series American TV has been lavishing upon us for the past 15 years or so. They are becoming even more daring as they stand on the shoulders of previous giants. Netflix’s Orange is the New Black, for example, under the pretext of depicting the life of the inmates of a women’s federal prison, explores the feminine universe in all its details. The prison reflects of course what goes on with women in the American society as whole. With a lot of humor and irony, but also delicacy and poignancy, the show discusses the nuances of real (as opposed to stereotyped) lesbianism and homophobia, the violence and prejudice against minorities (women, blacks, latinos, homosexuals, immigrants, religious cultists and transexuals) and, not less interestingly, how power is gained, maintained and lost at different times in a community. The show is very political in bringing to light the different kinds of negotiations and shady deals one has to strike at all hierarchical levels to survive and keep one’s dignity and rights in society. I will not say anything about the ensemble of great actors who compose the cast. Suffice it to say that the acting is superb and the actos’ looks are initially revolting – until you grow accustomed to them and realize that’s what real people look like. Unlike the fake ” ugly ” looks worn by the likes of Meryl Streep in Ironweed or Charlize Theron in Monster, the women in OITNB look rather common, it’s just that we are not used to seeing them on TV. I have just read an article on the Internet pointing out that the show is effectively changing peoples’ negative opinions and attitudes towards the minorities it featured. Besides great entertainment, what more can you expect from a TV show? Well done!
Do you watch Orange is the New Black? What do you think of it? Please leave a comment in the appropriate section of the blog before you move to another page.
I was lucky to grow up in a house packed with books. Both my mother and father loved reading. However, a dear aunt who lived with us for the most part of our lives was the real family bookworm. She wouldn’t stop buying books. This is the kind of environment that fosters the taste for reading in a kid. We wanted to know what the fuss was all about. Why do these grown-ups keep their eyes glued to those pages when the rest of us are having such a great time in front of the television watching Lost in Space? I had to find out.
My Mom decided to buy a collection of juvenile books which had just come out. Each volume came out quarterly and was sold from newsstands. It was basically through this collection that I made the acquaintance of some of the great storytellers of all time: Dickens, R. L. Stevenson, Jules Verne, Mark Twain, Victor Hugo and Jack London to name just a few. J. K Rowling was not among them, but I must confess I find Harry Potter’s The Prisoner of Azkaban a very sophisticated and clever book. The dementors, strange creatures that look after the magic prison featured in the story, are prone to inspire all kinds of psychological metaphors which can be disturbing even to adult readers.
In this post I’m going to list some of the books I loved when I read them as a child or a teenager and try to explain the power they exerted on my imagination, making me become an avid reader for life.
1. Treasure Island by R. L. Stevenson: this was probably the first “real” book I’ve ever read (as opposed to the toy-books and comics I read before). It had a hard cover and it was thick by a 11-year-old’s standards. My brother and I read it around the same time and we couldn’t stop talking about Jim, the kid hero, who finds a map to a hidden treasure, after a mysterious captain dies at his parents’ inn by the sea. This is basically a coming-of-age tale, as Jim embarks on a perilous journey to find the treasure. Of course it has all the clichés we associate with pirate tales today. But I believe it must have been among the very first books to create and develop those same clichés in the first place. Whenever my brother and I would go to desert beaches for a day or the weekend – they’re a lot more common on the northeastern coast of Brazil, where we lived, than in the rest of the country – we relived in our imagination, as we ran up and down dunes and rocks, Jim’s adventures and challenges. We were Jim ourselves.
2. The Adventures of Tom Swayer by Mark Twain: who can forget Tom and Huck, best buddies, having fun, playing games and pranks in a small town by the Mississipi river in the early 1840s? Tom lived with a little bother, Sid, and a cousin, Mary, under the strict surveillance of Aunt Polly, who was always harassing the poor boy on matters of religion, cleanliness and good manners. Huck, on the other hand, was a boy of the streets, son of a drunk hobo, free to do whatever he pleased. Tom was the leader of the gang of the boys in the area, playing pirates and robbers, traveling to islands and exploring caves. The book is also about a boy’s first love and, although for most of us this was not so interesting, Twain made us care a lot about Becky, Tom’s sweetheart, by having them get lost in a maze-like cave, persecuted by a wanted criminal in the thrilling climax of the book. Unforgettable. This book is continued on a much more sophisticated work, The Adventures of Huckleberry Finn, considered Twain’s masterpiece. But I only got to read that a lot later in life.
3. The Call of the Wild by Jack London: the progressive inner journey of Buck – a domesticated dog kidnapped by an unscrupulous farmer employee, and sold to work as a sled dog in Alaska- into his wild self is beautiful and liberating. The story is boldly told from the point of view of the animal itself, so we get a whole new perspective. The story is so powerful that makes one wonder whether we ourselves should not follow a similar path in the search of our truest soul, shedding all the masks and disguises imposed by a false concept of civilization.
4. Oliver Twist by Charles Dickens: of course the possibility of losing my mother was the worst nightmare I had growing up. My father died in an accident when I was very young, so I grew up in constant fear that my Mom might leave me too. Reading Oliver Twist was a great cathartic way to put myself in the character’s shoes and deal with the horrible situations I feared the most, with the relief that, whenever I put the book down, all the horrors I had been through remained pure fantasy and my Mom would still be safely living with me. It was reassuring to realize I’d never had to beg for food as the poor hero after being served a meager meal in one of the most heart-wrenching passages of the book: “Please, sir, I want some more.”
5. Journey to the Center of the Earth by Jules Verne: if you read it today, it will feel a bit dated and definitely unbelievable. But at the time I first read it, I was fascinated by the trip to Iceland to reach the right volcano crater which would lead the characters down to the center of the planet. Some of the images branded forever in my brain by the powerful storytelling are, for example, the huge lake in the depths of the earth where we watch a fascinating fight between aquatic Cambrian monsters; the enormous caves jammed with stalagmites and stalactites (I bet you don’t know the difference between them!) the characters had to walk across on their way down, or the narrow halls and passageways along which they crawled down on their mission to get to the center of our planet. However, it was hard to keep the suspence of disbelief during the passage at the end of the book, when the characters are implausibly ejected to the surface of the planet by riding a flimsy raft on rising boiling magma, traveling up a volcano channel. No way!
The books mentioned above are commonly associated with boys’ taste for challenge, danger, violence and adventure. I suspect, however, that girls might derive the same pleasure from them. What do you think? Please leave your comment and rate this post as you leave the page. Don’t forget to tell us about your favorite books too.