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	Michelangelo Antonioni - Wikipedia, the free encyclopedia
		Michelangelo Antonioni (born September 29, 1912, Ferrara, Emilia Romagna) is an Italian modernist film director whose films are widely considered as some of the most influential in film aesthetic.
		Antonioni's first major success was L'Avventura (1960), which was followed by La Notte (1961) and L'Eclisse (1962), which made up an informal trilogy on the theme of alienation.
		Thus, despite his critics, Antonioni's films ruthlessly dissect the rich with a disapproving Marxist sensibility, even as his camerawork displays a fascination for the ornate settings of the wealthy class.
	en.wikipedia.org /wiki/Michelangelo_Antonioni (702 words)

	Michelangelo Antonioni - MSN Encarta
		Michelangelo Antonioni, born in 1912, Italian avant-garde motion-picture director and screenwriter, whose films are known for their haunting images of human isolation.
		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.
	encarta.msn.com /encyclopedia_761566029/Antonioni.html (321 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.humnet.ucla.edu /humnet/italian/faculty/harrison/Essays/Antonioni.htm (2035 words)

	DEEP FOCUS: Michelangelo Antonioni (Site not responding. Last check: 2007-10-21)
		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)

	Antonioni's Modernist Language
		There is certainly a difficulty in understanding any particular Antonioni text, in that he defines within them a cinematic language all his own, a language that lies only within the bounds of the text.
		Antonioni's trepidation when it comes to relying on verbal language is a direct result of his modernist tendencies, tendencies born from the modernist mistrust of an intelligible and comprehensive surface depiction of reality.
		Antonioni heightens the oppressive nature of these landscapes through the use of the temps mort, a device linked to the nouveau roman movement in its modernist use of "microrealism".
	www.geocities.com /Hollywood/3781/modernism.html (2541 words)

	Michelangelo Antonioni @ Filmbug
		Michelangelo Antonioni has been universally recognized as one of the great masters of cinema, celebrated for such classic films as L'Avventura, La Notte, Eclipse, The Red Desert, Blowup, and The Passenger.
		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.
	www.filmbug.com /db/34713 (509 words)

	THE PASSENGER
		Italian filmmaker Michelangelo Antonioni is one of the most individualistic and innovative film directors of our time.
		Over the next decade Antonioni wrote and directed an array of films, spending much of the time in seclusion, he further rejected the notions of traditional narrative and literary value and further developed his increasingly unique visual aesthetic.
		Antonioni’s life and films have been highly acclaimed, vehemently attacked, widely debated and eagerly anticipated as cinematic events.
	www.sonyclassics.com /thepassenger/director.html (597 words)

	Barnes & Noble.com - Biography - Michelangelo Antonioni
		Italian filmmaker Michelangelo Antonioni redefined the concept of narrative cinema, challenging the accepted notions at the heart of storytelling, realism, drama, and the world at large; his films -- a seminal body of enigmatic and intricate mood pieces -- rejected action in favor of contemplation, championing image and design over character and story.
		While at college, Antonioni's interest in the theater blossomed, and he also began writing short fiction and film reviews for a local newspaper, Il Corriere Padano, often running afoul of the motion-picture community for his savage attacks on the mainstream Italian comedies of the 1930s.
		By 1939, Antonioni had chosen the cinema as his life's work, and soon he relocated to Rome, where he accepted a position at Cinema, the official Fascist film magazine edited by Mussolini's son, Vittorio.
	video.barnesandnoble.com /search/Biography.asp?ctr=571614 (1281 words)

	Michelangelo Antonioni (Site not responding. Last check: 2007-10-21)
		Antonioni did not mount another feature-length project until 1953 with La Senora Senza Camelie, an essay on the world of show business which further developed the formula of internalized action.
		Il Grido followed in 1957, and in 1958 Antonioni resurfaced with a pair of films, La Tempesta and Nel Segno di Roma; the period was one largely defined by artistic and commercial disappointment, and of the three films, the director allowed his name to remain on Il Grido alone.
		With 1982's Identificazione di Una Donna, Antonioni's career largely ground to a halt; a savage early review by the New York Times' Vincent Canby prompted its U.S. distributor to drop the film, and due to the loss of potential revenue, he was unable to realize several planned projects.
	www.djangomusic.com /actor_bio.asp?pid=P+79780 (1266 words)

	village voice > film > The Vision That Changed Cinema: Michelangelo Antonioni by J. Hoberman
		Michelangelo Antonioni, whose long overdue, must-see retrospective opens this week at BAM, is not just a great movie director but, still with us at 93, a major European artist—one of the very few filmmakers ever recognized as such.
		Antonioni's affinity for heedless affluence and fond eye for the pop landscape are already in evidence— as is his habit of ignoring generic conventions.
		Antonioni's principals have simultaneously jilted each other; the filmmaker subjects the neighborhood where they were to have met to an apocalyptic neutron bomb effect.
	www.villagevoice.com /film/0623,hoberman,73446,20.html (1155 words)

	Michelangelo Antonioni (Site not responding. Last check: 2007-10-21)
		Michelangelo Antonioni (born September 29, EHandler: no quick summary.
		La notte is a 1960 italian feature film directed by michelangelo antonioni, starring marcello mastroianni, jeanne moreau and monica vitti....
		Blowup is a 1966 british-italyitalian art film directed by michelangelo antonioni, his first to feature an english language screenplay and...
	www.absoluteastronomy.com /encyclopedia/m/mi/michelangelo_antonioni.htm (1273 words)

	Michelangelo Antonioni--a flawed legacy Part 1
		Antonioni’s better movies, particularly those made during the 1960s, are skilful and established new conventions for dramatic cinema.
		Antonioni started his first film—the Gente del Po—a documentary about Po River fishermen in 1943 but it was disrupted by the war and not finally edited and screened until 1947.
		Antonioni lived through some of the most tumultuous upheavals in Italian life—two decades of fascist rule, WWII and the overthrow of Mussolini, the PCI’s betrayal of the revolutionary upsurge of the working class, and the rise and decline of post-war Italian cinema.
	www.wsws.org /articles/2004/nov2004/mic1-n10.shtml (1454 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)

	Cinema. Et Cetera.: L'Eclisse d. Michelangelo Antonioni, 1962
		Like Antonioni's first (and seminal) work in his Eros Trilogy, L'Avventura, L'Eclisse is the type of film that could easily, and rightly, be described as boring.
		Antonioni speaks not through dialogue, but through mise-en-scene, the spatial relationships and juxtapositions of objects and individuals, and the placement of the camera that captures them.
		If one cares to look deeper than the surface narrative, a compelling, and sometimes frightening, visual portrait of the struggle between nature and modernization is created, a portrait worthy of the time and effort spent to see and understand its meaning.
	cinemaetcetera.blogspot.com /2005/03/leclisse-d-michelangelo-antonioni-1962.html (922 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.
		The main reason for the success of Michelangelo Antonioni's movies, 'L'avventura,' 'The Eclipse' and 'The Desert' is the lifelike portrayal of his characters.
		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 (4195 words)

	Michelangelo Antonioni--a flawed legacy Part 2
		Antonioni demonstrated that movies could depart from a formal narrative structure or logical ending and that atmosphere and emotional depth could be created with extended silences or “dead time”, carefully choreographed cinematography and other visual techniques.
		Thousands of words have been published dissecting Antonioni’s work over the years—the director elevated to cult-figure status during the confused and culturally barren environment of the 1990s—but most of the often-lengthy observations are confused and self-serving.
		Antonioni’s creative skills, particularly his ability, in his early films, to visually demonstrate the inner, emotional complexities of modern life, and to make some sort of protest against it, constitute a contribution to cinematic art.
	www.wsws.org /articles/2004/nov2004/mic2-n11.shtml (2337 words)

	Beyond the Clouds . The Boston Phoenix . 04-20-98
		Beyond the Clouds, which is drawn from the sketches Antonioni set out in his book That Bowling Alley on the Tiber and realized with the help of Dutch director Wim Wenders (Antonioni suffered a stroke in 1985), doesn't quite reach that level, but it still blows away 99 percent of what's on screen these days.
		Antonioni is always trying to move beyond the female body -- perhaps that's why he puts four nude ones on screen here.
		John Malkovich is too authoritarian to be ideal as the filmmaker/narrator; he makes Antonioni's probings (which can hardly exist outside the original Italian, though the late William Arrowsmith gave them life in his magnificent translation) sound like pronouncements.
	www.filmvault.com /filmvault/boston/b/beyondtheclouds1.html (744 words)

	Michelangelo Antonioni Archive - About Antonioni - littlerabbit.com
		Michelangelo Antonioni was born on 29th Sepetember 1912 in Ferrara, a small provincial capital in north-east Italy which Antonioni himself described as "a marvellous little city on the Paduan plain, antique and silent".
		During the decade Antonioni only made two more films and in 1985 he was impaired by a stroke, losing the power of language and becoming partially paralyzed.
		Besides being a director, Antonioni is also a writer and painter, publishing novels like That Bowling Alley on the Tiber and a painting collection The Enchanted Mountain.
	www.littlerabbit.com /antonioni/maabout.html (519 words)

	Barnes & Noble.com - Blow-Up -- Michelangelo Antonioni - DVD - Wide Screen
		It's obvious today that, for his first English-language film, Antonioni was less interested in developing a Hitchcockian narrative than he was in capturing attitudes and images that, to him, symbolized the social upheaval of the times.
		Italian director Michelangelo Antonioni's first English-language production was also his only box office hit, widely considered one of the seminal films of the 1960s.
		His inner life is as bored and despairing as that of any classic Antonioni hero, but in the course of a single day he stumbles upon an event that challenges his ennui, evokes for a few moments the possibility that he may overcome it, but leaves him in the end much as he was before.
	video.barnesandnoble.com /search/product.asp?ean=12569513525&userid=2c7U5QmBou&frm=0&itm=1 (929 words)

	BAM : Brooklyn Academy of Music
		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.
		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.
	www.bam.org /film/series.aspx?id=83 (2267 words)

	Michelangelo Buonarroti articles on Encyclopedia.com (Site not responding. Last check: 2007-10-21)
		Michelangelo Buonarroti Choose from over 300,000 art prints and posters.
		Michelangelo Buonarroti MICHELANGELO BUONARROTI [Michelangelo Buonarroti], 1475-1564, Italian sculptor, painter, architect, and poet, b.
		Early Life and Work Michelangelo drew extensively as a child, and his father placed him under the tutelage of Ghirlandaio, a respected artist of the day.
	www.encyclopedia.com /articles/08424.html (127 words)

	Michelangelo Antonioni (Site not responding. Last check: 2007-10-21)
		As in Agnes Varda's Vagabond, the barren landscape, perennially clad in fog, reflects the isolation of the soul.
		Marking Michelangelo Antonioni's entry into color film, Red Desert is a visually dense, metaphoric, and emotionally austere portrait of spiritual desolation, technological disconnection, and environmental malaise.
		Antonioni masterfully taunts the audience with the grainy, obscure fl and white prints, hanging from the walls, like Rorschach tests.
	www.filmref.com /directors/dirpages/antonioni.html (930 words)

	Antonioni 2004: Lo Sguardo di Michelangelo
		Surfacing without press screenings at a few theatres in the Landmark arthouse chain in the US for two weekend screenings in mid-August, Michelangelo Antonioni’s 17-minute Lo Sguardo di Michelangelo may conceivably be his most interesting film since Red Desert (1964).
		The action consists of Antonioni — walking without a cane, and looking like Antonioni prior to his stroke — entering the St. Pietro church in Rome to look at and then touch and caress portions of the restoration of Michelangelo's Moses, then leaving again.
		Michelangelo’s gaze rests gently on the figure of Moses and is able to contain the entire weight of the memory of everything he has seen, lived, learned in his life.
	www.rouge.com.au /4/antonioni.html (537 words)

	Michelangelo Antonioni
		Antonioni was raised in a middle-class environment that he accepts has influenced his creative perspective.
		Perhaps Antonioni’s main concessions to the dominance of Italian neorealism are his configurations of class.
		Antonioni has said that he considered the film to be a mistake because he concentrated on the ‘wrong’ character.
	www.sensesofcinema.com /contents/directors/02/antonioni.html (3975 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)

	Salute to Michelangelo Antonioni With Screening of "The Passenger" \| Academy Press Photo Area \| AMPAS (Site not responding. Last check: 2007-10-21)
		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)

	Errata: Commentary Track
		Michelangelo Antonioni may be 92, but he still knows how to make a great movie.
		Antonioni's footsteps echo and even his ring and fingers against the stone are audible, only just, before angelic voices sing over his exit.
		It would be like a tour group coming into the church and hurrying Antonioni along, or it would be like visiting a museum in which you see not one sculpture but many, spreading your attentions, always on the move.
	www.erratamag.com /archives/2004/08/antonionis_mich.html (971 words)

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