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	<title>Berkshire Review, an International Journal for the ArtsFilm &#187; Berkshire Review, an International Journal for the Arts</title>
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	<description>Classical Music, Opera, Theatre, Photography, Art, Books, Travel, Food &#38; Drink - Long-Form Reviews, Previews, and Interviews</description>
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	<itunes:summary>Classical Music, Opera, Theatre, Photography, Art, Books, Travel, Food &amp; Drink - Long-Form Reviews, Previews, and Interviews</itunes:summary>
	<itunes:author>Berkshire Review, an International Journal for the Arts</itunes:author>
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		<itunes:name>Berkshire Review, an International Journal for the Arts</itunes:name>
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	<copyright>&#xA9; 2010 Michael Miller</copyright>
	<itunes:subtitle>A Podcast from the Berkshire Review for the Arts</itunes:subtitle>
	<itunes:keywords>classical music, opera, theatre, dance, art, photography, literature, travel, food, wine</itunes:keywords>
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		<title>Berkshire Review, an International Journal for the ArtsFilm &#187; Berkshire Review, an International Journal for the Arts</title>
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		<link>http://berkshirereview.net/category/film/</link>
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	<itunes:category text="Arts">
		<itunes:category text="Performing Arts" />
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		<title>Tea Party Invaders! Douglas Sirk’s No Room for the Groom (1952)</title>
		<link>http://berkshirereview.net/2010/12/sirk-no-room-for-the-groom/</link>
		<comments>http://berkshirereview.net/2010/12/sirk-no-room-for-the-groom/#comments</comments>
		<pubDate>Tue, 07 Dec 2010 03:54:59 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Bertolt Brecht]]></category>
		<category><![CDATA[Douglas Sirk]]></category>
		<category><![CDATA[family]]></category>
		<category><![CDATA[Hollywood]]></category>
		<category><![CDATA[HUAC]]></category>
		<category><![CDATA[melodrama]]></category>
		<category><![CDATA[Piper Laurie]]></category>
		<category><![CDATA[politics]]></category>
		<category><![CDATA[screwball comedy]]></category>
		<category><![CDATA[tea party]]></category>
		<category><![CDATA[Tony Curtis]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8991</guid>
		<description><![CDATA[Amidst the patchy availability of important Hollywood films of the golden age, it’s sometimes surprising what turns up. Douglas Sirk fares better than most directors — his characteristic melodramas are available in well-produced editions. Beyond the famous films of his mature period — Written on the Wind (1956), All that Heaven Allows (1955), Imitation of Life (1958) (perhaps the ne plus ultra of weepies) — some more obscure Sirks are available, gems like All I Desire (1953), curiosities like the western Taza, Son of Cochise (1953), and the fascinating, startlingly bitter screwball comedy No Room for the Groom (1952).]]></description>
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		<title>The Institution is Immaterial: Frederick Wiseman&#8217;s La Danse</title>
		<link>http://berkshirereview.net/2010/11/la-danse/</link>
		<comments>http://berkshirereview.net/2010/11/la-danse/#comments</comments>
		<pubDate>Wed, 01 Dec 2010 03:21:46 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[cinema verité]]></category>
		<category><![CDATA[Dance]]></category>
		<category><![CDATA[documentary film]]></category>
		<category><![CDATA[Frederick Wiseman]]></category>
		<category><![CDATA[Musée d'Orsay]]></category>
		<category><![CDATA[Palais Garnier]]></category>
		<category><![CDATA[Paris]]></category>
		<category><![CDATA[Paris Opera Ballet]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8857</guid>
		<description><![CDATA[The Musée d’Orsay contains two scale models of the Palais Garnier (1875) which must rank among the greatest of all time. Within the museum the models terminate the former railway station’s main axis, forming a kind of culmination. Along with Paxton’s Crystal Palace (1851), unlikely to be mentioned in a Parisian museum, the Garnier is perhaps the definitive building of its century. The first model, implanted beneath a glass floor, shows the building in its urban context, clearly demonstrating that the great opera house precipitated for its neighborhood the Full Haussmann. The second model, built to a highly detailed scale (perhaps 1:100) for such a large building, is cut through in longitudinal section like a doll’s house, revealing the famously ornate lobby and hall as relatively minuscule inhabited planets orbited by a dark matter cloud of unnamed rooms and fly towers. Frederick Wiseman’s La Danse, a fly on the wall portrait of the Paris Opera Ballet, seems the cinematic equivalent of that sectional model, but it would be more accurate to say that it is simultaneously both models. The film uses its all access backstage pass, its sore toes, sweat and heavy breathing, to achieve the purpose of the contextual model, the definition of an institution within a city.]]></description>
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		<title>Openings: The Boston Season begins.</title>
		<link>http://berkshirereview.net/2010/11/boston-symphony-opera-boston-emmanuel-paramount/</link>
		<comments>http://berkshirereview.net/2010/11/boston-symphony-opera-boston-emmanuel-paramount/#comments</comments>
		<pubDate>Tue, 02 Nov 2010 06:25:54 +0000</pubDate>
		<dc:creator>Charles Warren</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Opera]]></category>
		<category><![CDATA[Emmanuel Music]]></category>
		<category><![CDATA[Fritz Lang]]></category>
		<category><![CDATA[Gil Rose]]></category>
		<category><![CDATA[James Levine]]></category>
		<category><![CDATA[Jean-Luc Godard]]></category>
		<category><![CDATA[Josef von Sternberg]]></category>
		<category><![CDATA[Ludwig van Beethoven]]></category>
		<category><![CDATA[Opera Boston]]></category>
		<category><![CDATA[Paramount Theater]]></category>
		<category><![CDATA[Ryan Turner]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8348</guid>
		<description><![CDATA[The Boston musical season is now rolling along, with almost too many good things occurring to keep up with. The best news, and a great relief, has been the return of music director James Levine to the Boston Symphony Orchestra after many months off for back surgery and recuperation. Levine looks older, with more loose flesh around the face, and he walks onstage and off carefully with a cane (though at moments he just rests it on his shoulder and goes securely on). He seems to feel good, and once seated and starting to conduct shows great animation and involvement, indeed passionate involvement, in the work at hand. He has the orchestra playing spectacularly. He has really taken them beyond themselves, and they know it and seem to feel proud of it, as they should.]]></description>
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		<title>The Business of Designing Dreams: Christopher Nolan&#8217;s Inception</title>
		<link>http://berkshirereview.net/2010/08/inception/</link>
		<comments>http://berkshirereview.net/2010/08/inception/#comments</comments>
		<pubDate>Tue, 10 Aug 2010 22:42:11 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[action movies]]></category>
		<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Christopher Nolan]]></category>
		<category><![CDATA[dreams]]></category>
		<category><![CDATA[Inception]]></category>
		<category><![CDATA[Leonardo DiCaprio]]></category>
		<category><![CDATA[Rem Koolhaas]]></category>
		<category><![CDATA[Stanley Kubrick]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7359</guid>
		<description><![CDATA[Inception, Christopher Nolan’s new film, could be considered a film about architecture. Leonardo DiCaprio, who plays an agent skilled at invading and manipulating the dreams of others, finds it easy to recruit a star architecture student (Ellen Page) to design the space in which the film’s climactic dream takes place. If architectural ideas have intrinsic value, then why not design dreams, especially if someone’s willing to pay? For Page’s character, as for Koolhaas, the invitation to produce ideas without buildings is an invitation to unburden. When she runs from DiCaprio’s initial offer, he knows she will come back. For an architect with ideas the opportunity to design a dream is itself a dream, or at least an opportunity to shoot a kind of mega-Imax movie without time, physics, or money between those ideas and their realization (DiCaprio does provide a design brief for the dream, a constraint essential to architectural creativity). Among other things, Inception is a rare film which takes architecture seriously, as process rather than just backdrop, and anyone with an interest in the subject will find themselves with some fascinating questions to ponder. For example, just what does it say about someone if Robert Moses-style tower slabs constitute the deepest level of their architectural dreaming?]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Wake in Fright’s Aggressive Hospitality</title>
		<link>http://berkshirereview.net/2010/07/wake-in-fright/</link>
		<comments>http://berkshirereview.net/2010/07/wake-in-fright/#comments</comments>
		<pubDate>Sat, 31 Jul 2010 02:29:52 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Australian cinema]]></category>
		<category><![CDATA[Donald Pleasence]]></category>
		<category><![CDATA[film preservation]]></category>
		<category><![CDATA[frontier towns]]></category>
		<category><![CDATA[Kenneth Cook]]></category>
		<category><![CDATA[mateship]]></category>
		<category><![CDATA[National Film and Sound Archive]]></category>
		<category><![CDATA[outback]]></category>
		<category><![CDATA[Ted Kotcheff]]></category>
		<category><![CDATA[Wake in Fright]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7232</guid>
		<description><![CDATA[Wake in Fright is not a film about the 2010 Australian federal election (that one might be called Lie Awake in Despair), but it is a film which says uncomfortable things about Australia, and therefore is not entirely unrelated to this winter of political discontent. It lays waste to the cherished Australian ideal of mateship and beyond that specific cultural provocation, it can be seen as a film about friendliness in general. Many places are described as friendly, without the further interrogation which might reveal the differences between, say, the way people are friendly in northeast Ohio, and they way they are friendly in Istanbul. The study of friendliness is rich territory for art and the fact that nearly everyone in Wake in Fright could be described as friendly is disturbing indeed.]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>My Son, My Son, What Have Ye Done? By Werner Herzog (with David Lynch’s name attached)</title>
		<link>http://berkshirereview.net/2010/07/lynch-herzog-my-son-my-son-what-have-ye-done/</link>
		<comments>http://berkshirereview.net/2010/07/lynch-herzog-my-son-my-son-what-have-ye-done/#comments</comments>
		<pubDate>Thu, 15 Jul 2010 18:48:40 +0000</pubDate>
		<dc:creator>Eliot Vivante</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[David Lynch]]></category>
		<category><![CDATA[Edinburgh International Film Festival.]]></category>
		<category><![CDATA[EIFF 2010]]></category>
		<category><![CDATA[Werner Herzog]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=6931</guid>
		<description><![CDATA[My Son, My Son, What Have Ye Done? had its Gala UK Premier at the 64th Edinburgh International Film Festival. So far it has screened exclusively at festivals and popular distribution is uncertain. It is scheduled to be released on DVD in the USA on 14 September 2010.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/07/lynch-herzog-my-son-my-son-what-have-ye-done/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Vacation! Summertime in America, in CinemaScope!</title>
		<link>http://berkshirereview.net/2010/07/vacation-summertime-america/</link>
		<comments>http://berkshirereview.net/2010/07/vacation-summertime-america/#comments</comments>
		<pubDate>Fri, 09 Jul 2010 23:32:39 +0000</pubDate>
		<dc:creator>Eliot Vivante</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Edinburgh Internation Film Festival]]></category>
		<category><![CDATA[EIFF]]></category>
		<category><![CDATA[Glass Candy]]></category>
		<category><![CDATA[Lydia Hyslop]]></category>
		<category><![CDATA[Maggie Ross]]></category>
		<category><![CDATA[Melodie Sisk]]></category>
		<category><![CDATA[Modern Love is Automatic]]></category>
		<category><![CDATA[Postmodern]]></category>
		<category><![CDATA[Stephen Sayadian]]></category>
		<category><![CDATA[Trieste Kelly Dunn]]></category>
		<category><![CDATA[Under the Radar]]></category>
		<category><![CDATA[Zach Clark]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=6869</guid>
		<description><![CDATA[No matter the flippant, large black-on-white titling, which straight-off foreshadows one central character’s impending death; everything about Zach Clark’s second film is as spontaneous as the girls’ reunion. It was shot quickly in late summer, 2009, on location at Clark’s father’s freshly painted pink beach house on Hatteras Island, North Carolina. The narrative not only introduces multiple twists in plot, but twists in genre – from buddy movie to sleazy holiday horror to music video to experimentation in acid-induced, surrealistic psychedelia and more.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Cinema Purgatorio</title>
		<link>http://berkshirereview.net/2010/07/cinema-purgatorio/</link>
		<comments>http://berkshirereview.net/2010/07/cinema-purgatorio/#comments</comments>
		<pubDate>Mon, 05 Jul 2010 18:28:42 +0000</pubDate>
		<dc:creator>Eliot Vivante</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Bunuel]]></category>
		<category><![CDATA[Catholicism]]></category>
		<category><![CDATA[Cinema]]></category>
		<category><![CDATA[Cinema Azzurro Scipioni]]></category>
		<category><![CDATA[Italy]]></category>
		<category><![CDATA[La ricotta]]></category>
		<category><![CDATA[Pasolini]]></category>
		<category><![CDATA[Religious Cinema]]></category>
		<category><![CDATA[Rome]]></category>
		<category><![CDATA[Short Film]]></category>
		<category><![CDATA[Welles]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=6770</guid>
		<description><![CDATA[Five minutes’ walk from St Peter’s, in a quaint hole-in-the-wall on the Via degli Scipioni, is Silvano Agosti’s two-screen cinema – an ex-porn theatre – which boasts a domestic Sony DVD projector (operated by magical remote control) through which the proprietor showcases his very own bootleg video editions against a dark grey board. “Dove il cinema è arte,” reads the picture house’s unpretentious tagline (“Where cinema is art”).]]></description>
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		<slash:comments>0</slash:comments>
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		<title>An Introduction to the 64th Edinburgh International Film Festival, 16-27 June 2010</title>
		<link>http://berkshirereview.net/2010/06/introduction-to-the-64th-edinburgh-international-film-festival-2010/</link>
		<comments>http://berkshirereview.net/2010/06/introduction-to-the-64th-edinburgh-international-film-festival-2010/#comments</comments>
		<pubDate>Fri, 18 Jun 2010 00:50:24 +0000</pubDate>
		<dc:creator>Eliot Vivante</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Cinema]]></category>
		<category><![CDATA[Digital]]></category>
		<category><![CDATA[documentary film]]></category>
		<category><![CDATA[Edinburgh International Film Festival.]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=6559</guid>
		<description><![CDATA[http://www.edfilmfest.org.uk/ Posted about Edinburgh&#160;– on taxi cabs, bus stops and cinemas (the usual routes of urban escape) – are classic film titles: La Terra Trema, Wild Strawberries, Dr. Zhivago, Easy Rider, Taxi Drive]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/06/introduction-to-the-64th-edinburgh-international-film-festival-2010/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Milan – San Remo</title>
		<link>http://berkshirereview.net/2010/06/am-love/</link>
		<comments>http://berkshirereview.net/2010/06/am-love/#comments</comments>
		<pubDate>Tue, 15 Jun 2010 01:08:22 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Italia]]></category>
		<category><![CDATA[Architecture]]></category>
		<category><![CDATA[I am Love]]></category>
		<category><![CDATA[John Adams]]></category>
		<category><![CDATA[Luca Guadagnino]]></category>
		<category><![CDATA[melodrama]]></category>
		<category><![CDATA[Milan]]></category>
		<category><![CDATA[Sydney Film Festival]]></category>
		<category><![CDATA[Tilda Swinton]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=6530</guid>
		<description><![CDATA[By the end of Luca Guadagnino’s opulent revival of the family melodrama, no member of its fabulously wealthy Milanese family has revealed themselves quite as completely as the deceptively austere palazzo in which they live. It is an unusual house; enormous, urban and clad in a 1930s rationalist facade which conceals a feast of opulent but simply ornamented surfaces. The difference between its interior and exterior tells us most of what we need to know about its inhabitants. To an even greater extent than the Sirk and Visconti melodramas which it evokes, the story of I am Love depends on the details of inanimate objects  -- clothes, cities, buildings and, above all, food.
]]></description>
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