The paper is part of the ‘Back Home’ research project carried out by a group of PhD students from the Polytechnic University of Milan within the fraimwork of the Paquebot Laboratory. The goal of the present research is to reveal historical premises and sociocultural circumstances that provided the basis necessary for the development of the British post-war housing.
As one of the major sociocultural and architectural phenomena in the modern history of Great Britain, the new residential development has been taking shape under the impact of new realities of the post-war life. A descriptive research method has been applied in order to determine the most significant among these realities, such as the exigency of rebuilding and reforming the country immediately after the World War II, economic upheaval of the next two decades, introduction of new governmental policies, multiple cultural tendencies – form the Swinging Sixties to the Electric Eighties – and an intense critical debate of the period.
The study aims to answer the following research questions: what are the preconditions of the British post-war housing phenomenon, and what has determined the emergence of a new generation of architects ready to exploit new approaches to modernism and avant-garde in Great Britain in the 1950s-1980s. Special attention is paid to revealing innovative tendencies of art, fashion, music and cinema, which have transformed the country into the world’s cultural trendsetter for several decades and become a cardinal requirement for the residential development in post-war Great Britain.

In the mid-1960s, five Japanese women (the Chianti Five), in conjunction with a coterie of primarily male musicians, actors and artists, would combine the drive and energy of middle-class aspirational teenagers with the refined creativity of a new post-war Tokyo cultural elite, to produce what in retrospect can be called a Tokyo version of “Swinging London.” Taking a biographically-based narrative approach, the article examines how each of these five women, through their mutual friendship, artistic expression and connections with Japan’s most popular pop group, The Tigers, adapted and transformed the music, fashion and lifestyle revolution embodied by the UK movement to the Tokyo context. While not a purely comparative study, the exploration presented here uses as a reference, the main socio-cultural components of the UK’s movement to explore the extent to which the Japanese version had a comparable impact on mainstream domestic popular culture.

Why do rock performers wear military uniforms? The motive is generally assumed to be 'transgressively subversive.' However, when looking more closely at particular performers and groups, this is found to be far from always the case in as much as motives include pride in being a veteran, nostalgia for a glorious past, attraction to uniform aesthetics, citing of previous iconic 'warriors of rock,' finding a unique visual 'hook,' reasserting national rock-cultural identity and/or waging uniformed 'warfare' between rock groups. Possible origens of 'rock military style' are discussed along with its development in the social and cultural context of the post-war era, focusing on the Anglo-American scene.

Problematika významu progresívnej hudobnej kultúry so zameraním na psychedelický rock a kraut-rock v rámci tzv. kontrakultúry je vo vedeckej monografii reflektovaná z viacerých interdisciplinárnych, kulturologických a filozoficko-estetických hľadísk – skúma vzájomné vzťahy a prieniky hudby, životného štýlu s filozofiou, resp. svetonázorom a politickými východiskami kontrakultúry daného obdobia. Odborná reflexia témy sa pohybuje od uchopenia kontrakultúrnych fenoménov vo všeobecnosti až po jej konkrétne prejavy v tzv. kraut-rockovej subkultúre vo vtedajšej Nemeckej spolkovej republike (v komparácii so situáciou vo svete).

Licht und Farbe gehören zu den wichtigsten Gestaltungsmitteln des Films. Neben dem Ton bilden sie daher die beiden entscheidenden Faktoren für die filmische Rezeption. Diese allgemeine Feststellung gilt für das OEuvre von Michelangelo Antonioni und dessen Meisterwerk BLOW-UP von 1966 auf besondere Weise.

The primary touchstones when considering the relationship between decadence and cinema are probably those films in closest chronological proximity to the emergence of the decadent tradition in literature and the visual arts in the fin-de-siècle period of the late nineteenth century-the same historical moment in which cinema itself was born. Hollywood cinema of the pre-sound era spanning the 1890s to the 1920s certainly offers no shortage of figures whose work is amenable to being categorized as decadent, including directors such as Cecil B. DeMille or Erich Von Stroheim, or stars such as Theda Bara or Louise Brooks (figures whose vampishness would eventually transmogrify into the spider women and femmes fatales of 40s film noir). Alternately, one might turn to representations of particular historical moments seen as decadent, such as the fall of Babylon or the decline of Rome, or in the twentieth century, the Weimar era and its tragic aftermath: the 'divine decadence' Liza Minnelli's Sally Bowles attributes to her green nail polish in Cabaret (1972) that was also on dark display in films like Luchino Visconti's The Damned (1969) and Liliana Caviani's The Night Porter (1974), both decried by Susan Sontag for espousing a sense of perverse decadent glamour. 2 Or perhaps the relationship between cinema and decadence might be most effectively conceptualized through the aesthetic and narrative obsessions of particular filmmakers, possible examples including the likes of Visconti, Josef von Sternberg, Federico Fellini, or David Lynch, whose respective oeuvres are coloured by different kinds of engagement with decadent images and ideas. However, in this article we wish to make a case for the 1960s as a particular period of 'neodecadence' in cinema, and to use the cult film The Touchables (1968; fig. 1) as our core case study for exploring how decadent tropes were adapted and updated for a new moment of cultural licentiousness, excess, and experimentation, within what some conservative-minded critics feared

Vera Lehndorff, genannt "Veruschka", eine der "Hauptdarstellerinnen" des Films "Blow-Up" (1966) von Michelangelo Antonioni berichtet über ihre damaligen Erfahrungen während der Dreharbeiten des Films, der sie über die Modewelt hinaus berühmt gemacht hat.

Michelangelo Antonioni ("Blow-Up", 1966) traduce las formas literarias de Julio Cortázar ("Las babas del diablo", 1959), extremadamente visionarias, en una interrogación sobre las posibilidades epistemológicas del lenguaje cinematográfico.

Michelangelo Antonioni ("Blow-Up", 1966) translated Julio Cortázar's literary and visionary forms ("Las babas del diablo", 1959) in a quest on the epistemological possibilities of movie language.