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Topic: Antonioni

	The Films of Michelangelo Antonioni
		Antonioni likes to show how dynamic and exciting business is. The husband here is honest, and treats his wife well; she lies to him and exploits him, being interested only in his money.
		Antonioni was born in Ferrara, and went to school at the University of Bologna.
		Antonioni clearly suggests that this is a deep part of the malaise felt by his characters, and modern society in general.
	members.aol.com /MG4273/antonion.htm (15971 words)

	Michelangelo Antonioni - MSN Encarta
		Antonioni was born in Ferrara and educated at the University of Bologna.
		Antonioni is known—especially in his work of the early 1960s—for a unique cinematographic style that often employs lengthy tracking shots that transfix human figures against a barren natural landscape or a scene of urban sterility, or that otherwise emphasize human isolation.
		Antonioni's reputation diminished considerably after the 1970s and few of his later films were released in the United States, but in 1994 he received a special Academy Award for his achievement in film.
	encarta.msn.com /encyclopedia_761566029/Michelangelo_Antonioni.html (295 words)

	Antonioni
		Antonioni is virtually the sole survivor of that grand generation of Italian filmmakers once boasting Rossellini, Visconti, De Sica, Fellini, and Pasolini.
		Antonioni is more determined than most other directors to stress that the "meaning" of a film can only be located in the actual constructions of visual drama.
		That is why Antonioni did not take exception to that early assessment of his cinema as "internal neorealism," for it recognized that his films were interested in the "innermost thoughts" of a character, in the subjective after-effects of a dramatic scene, in the forces that move us to act one way instead of another.
	www.italian.ucla.edu /faculty/harrison/Essays/Antonioni.htm (2035 words)

	Michelangelo Antonioni - Wikipedia, the free encyclopedia
		Michelangelo Antonioni (born September 29, 1912) is an Italian modernist film director whose films are widely considered as some of the most influential in film aesthetics.
		Antonioni's first major success was L'Avventura (1960), which was followed by La Notte (1961) and L'eclisse (1962).
		In 1996, Antonioni was given an Academy Award for lifetime achievement.
	en.wikipedia.org /wiki/Michelangelo_Antonioni (1179 words)

	DEEP FOCUS: Michelangelo Antonioni (Site not responding. Last check: 2007-09-17)
		Michelangelo Antonioni was born in the northern Italian city of Ferrara in 1912.
		Antonioni began his work in film as a scenarist and assistant director in the early 1940's, and in the later half of that decade, when neo-realism first began to emerge in Italian cinema, he made six distinctive short documentaries.
		Antonioni has claimed to be a Marxist intellectual, but as Pauline Kael has pointed out, although Antonioni believes in the socialist criticism of society, his films, particularly L'Avventura, betray his lack of faith in the socialist solution.
	alumni.imsa.edu /~mitch/directors/antonioni.html (385 words)

	Michelangelo Antonioni@Everything2.com (Site not responding. Last check: 2007-09-17)
		Michelangelo Antonioni was born on 29th September 1912 in Ferrara, a small provincial capital in north-east Italy.
		In Le Amíche, Antonioni approaches the story of a woman who tries to convince her lover to murder her husband, from the spiritual perspective, as opposed to a plot driven one.
		Antonioni developed a very unique method of juxtaposing actors and landscape that give his movies a haunting reality.
	www.everything2.com /index.pl?node_id=736564 (639 words)

	Michelangelo Antonioni @ Filmbug
		Antonioni was born in the northern Italian city of Ferrara in 1912.
		Antonioni began his work in film as a screenwriter and assistant director in the early 1940's, and in the later half of that decade, he made six short documentaries.
		When Antonioni was 38 years old, he directed his first fiction feature, Cronaca di un amore (Story of a Love Affair, 1950), and then made four other films in the mid-1950's, including Le amiche (The Girl Friends, 1955) and Il grido (The Outcry, 1957).
	www.filmbug.com /db/34713 (494 words)

	The Harvard Crimson :: Arts :: Antonioni's Stark View Reinterpretted
		Antonioni's beautiful women and their idle, sour men lack a moral structure to their actions and, along the same lines, Antonioni's film lacks a narrative structure for its own action.
		The viewer is left with her beautiful face, her dynamic hair, the motions of her hands, as clues to the meaning of Antonioni's relentlessly difficult and oppresive representation of human interaction.
		Antonioni offers no answers, and his attempts at tenderness are few and far between, but "L'Avventura" frames a vocabulary of a kind of despair, both poignant and banal, that can speak for a part of today's unnamed generation.
	www.thecrimson.com /article.aspx?ref=231453 (821 words)

	Maestros-Michaelangelo Antonioni
		Michelangelo Antonioni (1912-), Italian avant-garde motion-picture director and screenwriter, whose films are known for their haunting images of human isolation.
		Born in Ferrara, Antonioni entered the film industry in 1942 as a screenwriter and later became an assistant director.
		Antonioni is known for a unique cinematographic style that employs lengthy tracking shots of human figures against a barren natural landscape or a scene of urban sterility.
	www.nextpix.com /v1_1/salon/antonioni.html (580 words)

	Antonioni's Blow Up And The Chiasmus Of Memory
		Antonioni has thus already indicated a significant autonomy between what he chooses to show and the importance of Thomas’s active body as a character in the diegesis.
		Thus, although Antonioni’s camera chooses to pay them little heed at this point, re-viewing the film underlines the fact that the spectator’s memory is always a dynamic system shaped by selection and suppression, depending on the different hermeneutic contexts of our analysis.
		Antonioni frames the shot frontally in a series of parallel planes, interjecting Thomas’s camera between us and the photograph, so that its rear viewfinder frames the section that is being enlarged.
	www.artbrain.org /journal2/gardner.html (7862 words)

	Introduction to Michelangelo Antonioni's Visual Technique
		Amazingly, Antonioni, who suffered a massive stroke in the early 1980s leaving him partially paralyzed and unable to speak, and who is now well into his 90's, is still making films.
		Antonioni's influence as an artist is felt in other media as well, such as literature, where critics such as Roland Barthes and William Arrowsmith have felt compelled to pay homage to his vision.
		And today Antonioni's legacy is working itself out among new generations and in new media, as is evidenced by the many tribute sites on the web devoted to his work (see, as an example, http://littlerabbit.com/antonioni.html).
	www.ibiblio.org /stabley/antonioni/visualtechnique (661 words)

	BAM : Brooklyn Academy of Music
		In Antonioni's section, which is in many ways a key to understanding his cinema, Antonioni brought together a group of young women in a film studio and, instead of having them explain their desire to kill themselves, asked them to act out the actual attempt.
		Antonioni’s fourth feature shows him already in incredible command of his moving camera to tell the story of a woman who returns home to Turin in the hopes of opening a clothing store.
		Antonioni uses the movie-studio framework to gleefully dissect the cruelty and coldness of movie stardom.
	www.bam.org /film/series.aspx?id=83 (2251 words)

	MetroActive Movies \| Michelangelo Antonioni
		Antonioni's first films were, like the other major talents in postwar Italy, neorealist.
		Still powerful, though, are Antonioni's inventive shots of a man and a woman hopeless, side by side, looking away from the camera: the opposite of the kiss.
		As with other great 20th-century artists, Antonioni's art was bomb art; his films attempted to clear out the debris of years of romantic, commercial filmmaking.
	www.metroactive.com /papers/sfmetro/01.18.99/antonioni-9902.html (696 words)

	DEEP FOCUS: Michelangelo Antonioni (Site not responding. Last check: 2007-09-17)
		Michelangelo Antonioni was born in the northern Italian city of Ferrara in 1912.
		Antonioni began his work in film as a scenarist and assistant director in the early 1940's, and in the later half of that decade, when neo-realism first began to emerge in Italian cinema, he made six distinctive short documentaries.
		Antonioni has claimed to be a Marxist intellectual, but as Pauline Kael has pointed out, although Antonioni believes in the socialist criticism of society, his films, particularly L'Avventura, betray his lack of faith in the socialist solution.
	www.imsa.edu /~mitch/directors/antonioni.html (385 words)

	Professione: reporter (1975) (Site not responding. Last check: 2007-09-17)
		Antonioni's third English-speaking film, The Passenger, like Blow-Up and Zabriskie Point, centres around the oblique, unresolved aspects of life.
		Antonioni, now in his sixties, is one of the great Italian directors who, like Fellini and Visconti, burst upon the international film scene in the late '50s.
		Even at the Antonioni retrospective in 2005 it was not available to include in the season, but we did have cast members Jenny Runacre and Steve Berkoff there to speak warmly of it's making and importance.
	www.imdb.com /title/tt0073580 (1241 words)

	Antonioni's The Passenger (1975/2006)
		The anticipation which Antonioni's film The Passenger generated prior to its release in 1975 owed something to the counter-culture's fascination with the desert, its mystery and natural minimalism...
		"In an Antonioni film you see things rather than hear them," he says as he explains the difference in method between the maestro and directors of the usual music-driven melodramas of the commercial cinema.
		He's right, of course, as the audio is virtually all ambient noise from beginning to end [consider: the clever use of the running shower as Locke discovers Robertson's body and eventually drags it into his room to switch identities].
	www.culturecourt.com /F/Antonioni/ThePassenger.htm (2326 words)

	Michelangelo Antonioni: A Short Bibliography of Materials in the UC Berkeley Libraries
		The author describes the effect of Antonioni's films on the viewer, noting that this is the effect art should have, examines in detail the structure and significance of the film L'Avventura, and notes the influence on his work of Italian painting.
		Antonioni's films are investigative in nature, reflecting his early experience as a journalist.
		Antonioni's documentary "Chung kuo China" is used to demonstrate the implied cultural superiority in the narrative of ethnographic films.
	www.lib.berkeley.edu /MRC/antonioni.html (4470 words)

	Other Voices 1.3 (January 1999), Jack Turner "Antonioni's The Passenger as Lacanian Text"
		Antonioni is insidious in his play between the two, subtly causing us to see and feel our preference for the fantasy world of Locke, which is more vital (ironically), more colorful, more "movie-like," therefore more pleasurable, easier to lose ourselves in.
		Antonioni's camera is free to explore without the chains of conventional filmic, narrative "law," and thus he twists the Symbolic to fit his own personal vision (just as Lacan does with his dense, allusive, labyrinthine prose).
		Antonioni believes "that one's ability 'to see rightly' is essential to an understanding of how to live in the world.
	www.othervoices.org /1.3/jturner/passenger.html (5112 words)

	Sensual Trackings of a World Adrift - June 7, 2006 - The New York Sun
		Michelangelo Antonioni has created films that are formative cinema - shaping the audience as much as the director shapes his deep-focus images and elliptical narratives.
		Antonioni goes: No detective story gets solved, the photographer does not reform himself; instead, the director leaves his audience suspended in a space of uneasy reflection.
		Antonioni's attempt to turn this gaze on America, "Zabriskie Point" (June 23), was panned on its 1970 release here as a shallow take on post-'60s ferment.
	www.nysun.com /article/34024 (865 words)

	Il Grido
		Antonioni aficianados will certainly appreciate this film, but others less familiar with his directing style may be bored.
		The concluding sequence opens the story up and gives it almost epic scope, as the character returns to the village he left, to find himself in the midst of an anti-government riot--though by now, the rioters' issues are meaningless to him.
		Antonioni often has the camera pulled back, so that you see the whole of the human figures futilely moving among featureless buildings or arid ground.
	www.8notes.com /books/detpage.asp?asin=B00004WM2H&field-keywords=Couperin&schMod=music&type=&sb=s (615 words)

	Wong Kar-wai Dominates Uneven "Eros"
		Antonioni's segment, "The Dangerous Thread of Things," centers around that classic topos, a couple -- an Italian woman and an American man living in Italy, inexplicably driving a car with Parisian license plates -- who are on the verge of breaking up.
		Fans of Antonioni's work will recognize the motif of the doubled woman from "L'Avventura" and the pristine beach from "Red Desert," but unfortunately the most consistent connection will be made with the disastrous "Zabriskie Point," whose bad acting made the film notorious within Antonioni's oeuvre.
		As always in an Antonioni film, space comments obliquely on the film's themes, but the director seems more interested in the two women featured in the film who are almost completely naked throughout.
	www.indiewire.com /movies/movies_040917eros.html (772 words)

	L'Avventura (1960)
		From Jack Nicholson reading a pair of essays by the film's director, Michelangelo Antonioni, to a scholarly yet non-pedantic commentary by Gene Youngblood, this DVD offers movie buffs young and old a chance to see why this is one of the most acclaimed cinematic works of all time.
		Antonioni made a career of making films with alabaster beauties in the central roles, and it's tempting to muse about how revelatory his work would be with homelier performers in lead parts.
		Among other noteworthy topics in the commentary is Youngblood's run-through of Antonioni's career, his discussion of the perilous five-month shoot, and his summation of the film's themes.
	www.reel.com /movie.asp?MID=2574&buy=closed&PID=10092215&Tab=reviews&CID=18 (1001 words)

	Nothing to Hide
		Antonioni's transformation from private sufferer to public campaigner is remarkable in Massachusetts' hard-nosed political culture, where politicians seldom speak about anything that could be perceived as a weakness.
		Antonioni shared his struggle with some of his closest friends in the Legislature, and is now comfortable speaking with anyone about it.
		Antonioni is not known as a showboat on Beacon Hill, and seldom stands out in the often-chummy club that is the state Senate.
	www.healthyplace.com /Communities/depression/news_2006/depression.asp (1201 words)

	Salute to Michelangelo Antonioni With Screening of "The Passenger" \| Academy Press Photo Area \| AMPAS
		Antonioni made a rare in-person appearance preceding a screening of a newly restored director's preferred cut of "The Passenger" (1975), the first public showing in nearly three decades.
		Antonioni made a rare in-person appearance preceding a screening of a newly restored director's preferred cut of "The Passenger," the first public showing in nearly three decades.
		Antonioni (center) was joined by his wife and collaborator Enrica Fica Antonioni (left) and assistant Andrea Boni during a panel discussion on his life and work.
	photos.oscars.org /listanevent.php?events=490 (817 words)

	A Certain Kind of Semiological Infinity and Excess: The 51st Sydney Film Festival
		There was talk that Antonioni wanted to end with the explosion and leave it somewhat ambiguous whether it was a projection of her imagination or whether it had a real status to it.
		Antonioni's films are narrative films, but the narrative may not necessarily dominate and provide the solutions that spectators are used to.
		And thus Antonioni's secret, the secret about which each of his films, and about which his entire cinematic oeuvre, seems to orbit, remains intact, shining, forever distant and mysterious, because the imagistic flowing surface of his films and their meanings are always in transit, always in motion, always in the process of still being developed.
	www.sensesofcinema.com /contents/festivals/04/32/sydney2004.html (6024 words)

	Bright Lights Film Journal \| Antonioni's Red Desert
		True to Antonioni’s elliptical style, there’s little in the way of physical connection between these two (or between her and her husband, for that matter); it’s mostly implied until a scene at the end of the film where Giuliana’s level of desperation drives her into his arms, briefly.
		Antonioni uses color throughout to tantalize the viewer with higher possibilities.
		Antonioni’s telephoto lens reduces the two to barely visible figures in one of the longest long shots in recent memory.
	www.brightlightsfilm.com /26/reddesert.html (912 words)

	ArtandCulture Artist: Michelangelo Antonioni (Site not responding. Last check: 2007-09-17)
		Perhaps this is why Antonioni's breakthrough feature, "L'Avventura" (1960), was booed when it was first screened at Cannes, though it went on to win the Jury Prize.
		In typical Antonioni fashion, Monica Vitti's gaze moves from a group of protesting workers to trace a blue line that runs up an adjacent wall.
		Antonioni went on to direct "Zabriskie Point" (1969), "The Passenger" (1975), and "Identification of a Woman" (1982) before suffering a debilitating stroke in 1985.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?wosid=NO&id=563 (718 words)

	Blow-Up : filmcritic.com Movie Review
		With a name like his, the proceedings were bound to be a little arty, and indeed the film was an open-ended, nearly plotless examination of the lives of the idle rich.
		In the films that followed -- especially La Notte and L'Eclisse -- Antonioni's style emerged as one in which characters wandered about, mankind's deepest emotions were rendered merely fashionable, and the lives on the screen were examined with the blankest imaginable gaze.
		Antonioni's insistence is that Blow-Up is a chronicle of a day and age in which disinterest and immediate gratification win out over deeper values every time.
	www.filmcritic.com /misc/emporium.nsf/e3fc5a57db3283cb862562580059d27f/76cce26de20d144e88256e2a0017c25f?OpenDocument (635 words)

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