It should not surprise that a director like Stanley Kubrick is an exceptional photographer also a penetrating and enjoyable as it is revealed in the images on show in Venice at the Venetian Institute of Sciences, Humanities and Arts Instead, one is annihilated and pleasantly caressed observing the profound lightness with which Kubrick portrayed the reality of postwar America. The exhibition, curated by Rainer Crone, presents to the public two hundred unpublished photographs taken by the young between 1945 and 1950, published al'epoca Look for the magazine. It Kubrick portrays the reality that thanks to the photographic medium is definitely a symptom of his future directorial sensibility, welcomed the research conducted at the boundary between fiction and reality, by the crack of ambiguity that enchants the eye and mind. Click clean, black and white, direct naturalized subjects as possible. Sequences, spy stories through a lens, caught in the daily lives imbalance clumsy and sweet. The eye of the alienated and alienating young Kubrick already reveals his personal reading of a really inconsistent and disorienting, but for this very fascinating. What intrigues and he lives in the spirit of the photographer is careful exploration of the subject depersonalizzazzione, of the posting made by a photographic filter that, paradoxically, a free cartridge of truth. Eight sections clump shots copyright, chosen from the twelve Conrgess stored at the Library of Washington and the Museum of the City of New York. The tale of a shoe (1947) humorous and moving tale image of a small country boy trying to earn some money shined shoes of passers-by, here Kubrick takes us on American roads populated by hot dog vendors, peddlers, in search of a dream of freedom in thought tasted. The circus behind the scenes (1948) which has a large sequence of snapshots in the camp of a traveling circus, with animals fierce, the tightrope walkers, trapeze artists and the fat lady. Portraits marked by attention to detail, built on a stretched beyond belief and therefore of reality itself true. A novice rampant, Betsy von F ΓΌ rstenberg (1950) that captures the young actress in a variety of mundane situations, as if the camera was following the hidden (but not too much) in his extraordinary everyday. Columbia University "exclusive" in New York (1948) , Michigan: an ancient university in the Midwest (1949) , offering both shots in an academic setting, but creative, unique footage of events, so unique as to break the distance between the viewer and the photographer, to merge it into one with the image. Mooseheart, the city of orphans (1949) brings together the faces of young children caught in their naive freshness and direct honesty. 1948: the new wealth and new horizons of travel (1948) is perhaps the collection refers to more shootings, two lovers portrayed in different "set" romantics who unexpectedly give ambiguous faces and looks alert, that leaves us on the question marks more or less predominant presence of the photographer. Ironic and quiet stamp imprinted on the film Kubrick gentle, that does not betray the expectations of the beholder with admiration. Hot Dixieland Jazz (1950) Portrays jazz musicians in the dance halls in the city. Pleasant atmosphere and warm sound. Crimes (1949), intrigues the eye in the sequence that chases the fleeting gesture of a policeman armed with a gun that pulls the weapon from the pocket of the raincoat. Show definitely not to be missed for all lovers of Kubrick and beyond. Amazing. Visitability from 28 August to 14 November 2010 at the Institute of Sciences, Arts and Letters, Palazzo Cavalli Franchetti. Open daily from 10:00 to 19:00, € 7.50 reduced for students (which is pretty but it's worth it), for all the other 9 €. For more information and to un'antemprima of what awaits you visit www.mostrakubrick.it
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