1940s Archive

  • Jorge Luis Borges forged into the realm of literary magic, he led his readers down through the Garden of Forking Paths, wandering the red and tranquil labyrinths in Elegy, growing old in so many mirrors, seeking in vain the marble gaze of statues, compiling regrets of a fantastic nature. Watch the BBC profile on him as an elder of strange destiny who had seen nothing, or almost nothing, but the face of a girl from Buenos Aires, a face that does not want you to remember it.

    Jorge Luis Borges: On Literary Magic and Garden Labyrinths

    Jorge Luis Borges forged into the realm of literary magic, he led his readers down through the Garden of Forking Paths, wandering the red and tranquil labyrinths in Elegy, growing old in so many mirrors, seeking in vain the marble gaze of statues, compiling regrets of a fantastic nature. Watch the BBC profile on him as an elder of strange destiny who had seen nothing, or almost nothing, but the face of a girl from Buenos Aires, a face that does not want you to remember it.

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  • Bicycle Thieves (Italian: Ladri di biciclette), also known as The Bicycle Thief, is director Vittorio De Sica's 1948 story of a poor father searching post-World War II Rome for his stolen bicycle, without which he will lose the job which was to be the salvation of his young family.

    Vittorio De Sica: The Alienated Unemployed in “Bicycle Thieves”

    Bicycle Thieves (Italian: Ladri di biciclette), also known as The Bicycle Thief, is director Vittorio De Sica's 1948 story of a poor father searching post-World War II Rome for his stolen bicycle, without which he will lose the job which was to be the salvation of his young family.

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  • The collaboration of trumpeter Miles Davis with Gil Evans' orchestral arrangement and composition elevated "the new thing," freeing modern jazz from big-band swing with lyrical-literary French horns and tuba and Davis taking up the flugelhorn.

    Creators of the Cool: Miles Davis and Gil Evans

    The collaboration of trumpeter Miles Davis with Gil Evans' orchestral arrangement and composition elevated "the new thing," freeing modern jazz from big-band swing with lyrical-literary French horns and tuba and Davis taking up the flugelhorn.

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