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| | Michelangelo Antonioni |
 | | But it is worth mentioning that a fundamental element of "the trilogy" is Antonioni’s increasing interest in the abstraction of space: for instance, the shot of the church in the deserted village in L’Avventura; the opening shot of La Notte that tracks down the Pirelli building; and the final seven minute montage of L’Eclisse. |
 | | Some consider L’Avventura, La Notte (1961), and L’Eclisse (1962) a trilogy (or, with Il Deserto rosso, a tetralogy) of sorts, largely because of a consistency of style, social setting, theme, plot and character (especially the roles played by the ubiquitous Monica Vitti). |
 | | Focusing on Il Grido, L’Avventura, La Notte and Beyond the Clouds and often employing a comparative approach, this page looks at themes, visual style and performance in Antonioni’s cinema. |
| www.sensesofcinema.com /contents/directors/02/antonioni.html (3975 words) |
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