Found at Penny Arcade.
Contributed by Charlie Russell-Schlesinger (Bowdoin, ’08)
Francine Rivers, “Redeeming Love” (2007)
Francesco Bertolini, Giuseppe De Liguoro, and Adolfo Padovan, “L’Inferno” (1911)
Watch YouTube video clips of Inferno (1911) and Satan Eating Human (1911).
“The Italian epic came of age with Giuseppe de Liguoro’s imaginative silent version of the Inferno, loosely adapted from Dante and inspired by the illustrations of Gustav Doré. L’Inferno was first screened in Naples in the Teatro Mercadante 10 March 1911. The film took over three years to make involving more than 150 people and was the first full length Italian feature film ever made. It’s success was not confined to Italy it was an international hit taking more than $2 million in the United States alone.
Tangerine Dream have composed the soundtrack based on their opera of Dante’s Inferno producing a soundtrack truly worthy of their position as one of the top film music composers in the world.” —L’inferno.com
Contributed by J. Patrick Brown (Bowdoin, ’09)
John Kinsella, “Divine Comedy: Journeys Through a Regional Geography” (2008)
“This mammoth new volume from Australia’s Kinsella (Doppler Effect) takes its template and three-line stanza from the three books of Dante’s epic, out of order: first Purgatorio, then Paradiso, then Inferno. Each of the three works, made from dozens of separate poems, joins allusions to Dante with sights, events and memories from Kinsella’s Australia, especially the farming region outside Perth, where he grew up and sometimes lives. The poet’s wife, Tracy (his Beatrice, he says), and their toddler, Tim, play roles throughout. Mostly, though, the poems concern places, not people; their ground note is ecological, with nature taking many forms (locust wings… at sunrise over shallow farm-dams steaming already) set against the ballast/ of cars and infrastructures that endangers it all. That motif of eco-protest dominates the Inferno (last blocks of bushland// cleared away to placate the hunger/ for the Australian Dream), but it turns up in all three of these (perhaps too similar, and surely too long) sequences. Like his compatriot Les Murray, Kinsella can sound uncontrolled, even sloppy. Yet he can turn a phrase (Who describes where we are without thinking/ of when we’ll leave it?). Moreover, he means all he says and never exhausts his ideas or ambition.” –Publisher’s Weekly, Amazon
Contributed by Aisha Woodward (Bowdoin, ’08)
Two Streets in Florence
(Photo by Kavi Montanaro, 2008)
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