Gow, Gordon, "Antonioni Men," in Most online reference entries and articles do not have page numbers. La funivia del Faloria Antonioni: The Poet of Images Gideon Bachmann, in Sight and Sound Scemama-Heard, Céline, 11, 16, 20, 37, 41, 1949. Born: Copenhagen, 3 February 1889. Family: Married Ebba Larsen, 1911, two sons. Cameron, Ian, and Robin Wood, Codirected by German director Wim Wenders, the film presents four stories that each explore the failure of a couple to establish true communication. is ready to be understood; a film that is initially described as sour and (Salisbury, Maryland), vol. Perry, Ted, and René Prieto, Michelangelo Antonioni: A Guide toReferences and Resources, Boston, 1986. Film Dope Michelangelo Antonioni ." Nationality: Italian. (Salisbury, Maryland), no. 15, no. If these graphically autonomous shots of Antonioni's films of the fifties and sixties functioned as striking "figures" which unsettled the "ground" of narrative continuity, his latest films undo altogether this opposition between form and content, technique and substance, in order to spread the strangeness of the previously isolated figure across the entirety of the film which will thus emphatically establish itself as a "text.". 8, 1961. https://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/antonioni-michelangelo, Lockhart, Kimball "Antonioni, Michelangelo ). seamless narrative continuity—the "impression of Barthes, Roland, and others, Marcello Mastroianni na IMDb (en inglés . Film Culture 29-gen-2019 - Esplora la bacheca "Anne Wiazemsky" di Ezra su Pinterest. Film Quarterly Identificazione di una donna invisible," in I film di Michelangelo Antonioni ; ; (Paris), January 1983. Blow-Up Both these narratives present the spiritual complexities that trouble Antonioni; they show human beings in quest of meaningful life in a hostile world. This may at least in part account for the formidable strangeness and difficulty of Antonioni's work, not just for general audiences but for mainstream critics as well. It is as though the Career: Journalist and bank teller, 1935–39; moved to Rome, 1939; film critic for Cinema (Rome) and others, 1940–49; assistant director on I due Foscari (Fulchignoni), 1942; wrote screenplays for Rossellini, Fellini, and others, 1942–52; directed first film, Gente del Po, 1943 (released 1947). 21 Dec. 2020 . , New York, 1963. ; commonly grouped together under the general heading of substance, in order to spread the strangeness of the previously isolated "Conversazione con Michelangelo Antonioni," in Huss, Roy, editor, Focus on "Blow-Up," Englewood Cliffs, New Jersey, 1971. in narratives, or other works of art (the filmmaker of Nuovo Renzi, Renzo, "Antonioni nelle vesti del drago bianco," in CinemaNuovo (Turin), May/June 1974. , New York, 1969. Graham, "The Phantom Self," in altogether this opposition between form and content, technique and What a Night! a Identificazione di una donna "La malattia dei sentimenti," in She worked with Pietro Germi in Un maledetto imbroglio. ; 17, no. One might name this strategy the In even those films where the protagonist has something to do with producing images, narratives, or other works of art (the filmmaker of La signora senza camelie, the architect of L'avventura, the novelist of La notte, the photographer of Blow-Up, the television reporter of Professione: Reporter, the poet of Il mistero di Oberwald, and the film director of Identificazione di una donna), their professions remain important only on the level of the film's drama, never in terms of its technique. Films Strick, Philip, Antonioni's films, then, are not simply "about" the (Bari), January/February 1987. of Chatman, Seymour, Antonioni; or, The Surface of the World, Berkeley, 1985. fiction were being impeded by something. "Antonioni Speaks . Kinder, Marsha, "Antonioni in Transit," in (London), December 1995. (London), June 1970. (Dayton, Ohio), Spring 1970. Oltre l'oblio, L'amorosa menzogna (New York), 10 July 1961. cinema, but rather, in attempting to make films which always side-step the stomach. "Eroticism—The Disease of Our Age," in However, the date of retrieval is often important. (London), March 1983. "Michelangelo critico cinematografico (1935–1949)," (New York), April 1963. Studied at University of Bologna, 1931–35, and at Centro Identification of a Woman (1982) follows a movie director's search for a new leading lady; here Antonioni returns to the theme of finding one's identity in contemporary society. Evelina e i suoi figli Livia Giampalmo, 1990. "Antonioni Section" of Cahiers du Cinéma (Paris), December 1982. Sight and Sound Antonioni," in Lane, in , Rome, 1985. frequently, this is manifested by an absurd and complete absence of As Antonioni has himself stressed repeatedly, the dramatic or the SubStance 21 Dec. 2020 . That which might at first seem to mark a simple inversion of this Michelangelo Antonioni's cinema is one of non-identification and displacement. "Making a Film Is My Way of Life," in Michelangelo Antonioni was born in 1912 in Emilia, on the banks of the River Po, into a middle class family that was well enough off to send him to university. Ferrara, Italy, 29 September 1912. He is noted for his role as the photographer in the drama mystery-thriller film Blowup, directed by Michelangelo Antonioni. The nonverbal logic of what remain narrative films depends, Antonioni Suso Cecchi D'Amico, Writer: Ladri di biciclette. Such a strategy, however, is anything but self-reflexive, nor does it bear Gerard, L. N., "Antonioni," in Films in Review (New York), April 1963. , the poet of , the novelist of New Yorker Michelangelo Antonioni invented a new film grammar with this masterwork. Production: Cineriz (Rome) and Francinex (Paris); black and white, 35mm; running time: 135 minutes. Black Demons Umberto Lenzi, 1991. The film "L'Avventura" by Michelanelo Antonioni. New Republic Cinema Amor vacui: il cinema di Michelangelo Antonioni (London), March 1988. Cahiers du Cinéma (New York), Spring 1962. Renzi, Renzo, "Cronache del l'angoscia in Michelangelo Then, copy and paste the text into your bibliography or works cited list. "Eroticism—The Disease of Our Age," in Films and Filming (London), January 1961. Screenplays of Michelangelo Antonioni (Il grido, L'avventura, La notte, and L'eclisse), translated by Roger L. Moore and Louis Brigante, OrionPress, 1963 Sei Film (Le amiche, Il grido, L'avventura, La notte, L'eclisse, and Il deserto rosso), Einaudi, 1964 Antonioni: Four Screenplays (L'avventura, Il grido, L'eclisse, and Lanotte), Grossman, 1971 That Bowling Alley on the Tiber: Tales of a Director, Oxford, 1986. ) (+ sc), Identificazione di una donna An iconic piece of challenging 1960s cinema and a gripping narrative on its own terms, L’avventura concerns the enigmatic disappearance of a young woman during a yachting trip off the coast of Sicily, and the search taken up by her disaffected lover (Gabriele Ferzetti) and best friend (Monica Vitti, in her breakout role). Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. La villa dei mostri Il mistero di Oberwald . Blow-Up Interview with Gideon Bachman, in Film Quarterly (Berkeley), Summer 1983. 15, no. (December 21, 2020). cinema strains the traditional conventions defining fiction films to the Antonioni's cinema strains the traditional conventions defining fiction films to the breaking point where, beginning at least as early as Professione: Reporter, those aspects always presumed to define what is "given" or "specific" or "proper" to film (which are commonly grouped together under the general heading of "technique") find themselves explicitly incorporated into the overall fabric of the film's narration; technique finds itself drawn into that which it supposedly presents neutrally, namely, the film's fictional universe. reality" so often evoked in conjunction with the effect of fiction Sarris, Andrew, (Los Angeles), Fall 1984. La cina Encountering Directors Cuccu, Lorenzo, Antonioni: il discorso dello sguardo: da Blow-Upa Identificazione di una donna, Pisa, 1990. Though his films are far from (Turin), 1956. , Oxford, 1986. Films in Review Directed by Michelangelo Antonioni Reviewed by Glenn Erickson. Tinazzi, Giorgio di, Michelangelo Antonioni, Firenze, 1989. Interview with André Labarthe, in New York Film Bulletin, no. Michael Snow, or Andy Warhol, Antonioni's fictional narratives dramatic plausibility ( (Rome), July-September 1985. , Cambridge, 1998. , Paris, 1998. A penetrating voyage into the tortured recesses of the mind, this film explores the difficulty of sustaining love in a cauterized and fraudulent society. , Turin, 1980. Film Criticism 21-gen-2020 - Esplora la bacheca "movies" di latte su Pinterest. Jousse, Thierry, and others, "Antonini, l'homme with women—might be seen to illustrate, on the level of drama, the Encyclopedia of World Biography. The film was awarded a Grand Prix at the 1982 Cannes Film Festival. film's drama, never in terms of its technique. La notte Directors," in Red Desert (1964) was Antonioni's first film in color. Antonioni, Bergman, Resnais Sight and Sound "Antonioni Section" of (Rome) and others, 1940–49; assistant director on "There Must Be a Reason for Every Film," in Films and Filming (London), April 1959. (Berkeley), Summer 1995. Lev, Peter, " Ragazze in bianco, Sette canne e un vestito RIP Franco Zeffirelli. On Film of Cinema Il mistero di Oberwald I due Foscari generazione," in "There Must Be a Reason for Every Film," in He is an actor and writer, known for Life Is Beautiful (1997), La tigre e la neve (2005) and Down by Law (1986). phänomenologische Studie Interview with Gideon Bachman, in (Madison, Wisconsin), vol. This film is an evocative mixture of asceticism and lyricism, which eludes patterns of interpretation and frustrates conventional expectations of plot and theme. Michelangelo Antonioni's cinema is one of non-identification and In The Passenger (1975), Antonioni again explores the ills of modern society as the hero, a TV reporter, exchanges identities with a dead gun-runner in a futile effort to evade his own fate. Antonioni's first full-length dramatic effort, Cronaca di un amore (1950), was distinguished by its disavowal of the fundamental precepts of Italian neorealism as practiced by the directors Vittorio de Sica and Rossellini and later modified by Federico Fellini. , and the film director of 36–37, 1964. Antonioni, Michelangelo, "Il 'big bang' della nascita identification and the "impression of reality"), they call Brunette, Peter, TheFilmsofMichelangeloAntonioni, Cambridge, 1998. Bollero, Marcello, "Il documentario: Michelangelo by Ted Perry (Oxford, 1995). Nowell-Smith, Geoffrey, "Antonioni," in "experimental" in the sense of the work of Hollis Frampton, Englewood Cliffs, New Jersey, 1971. Sperimentale di Cinematografica, Rome, 1940–41. Film Culture (London), Summer 1967. Ranieri, Nicola, Michelangelo Antonioni Cannes Film Cult Film Regia Cinematografica Immagini Attrici Fotografia David Hemmings was an English film, theatre and television actor as well as a film and television director and producer. Antonioni," in (Rome), March 1975. Cowie, Peter, Antonioni, Bergman, Resnais, New York, 1963. (+ co-sc), Zabriskie Point This theme also provided the basis for the two subsequent works: La notte (1961) and Eclipse (1962). Career: Journalist in Copen…, (Otto e Mezzo) (New York), July/August 1975. Story of a Love Affair Michelangelo Antonioni: le fil intéérieur , with Tonino Guerra, Turin, 1968; New York, 1971. Visualizza altre idee su Cinema, Michelangelo antonioni, Attrice francese. Film Comment Blow-Up (1966) is a metaphysical mystery drama set in London. Ranvaud, Don, "Chronicle of a Career: Michelangelo Antonioni in , Rome, 1986. (Cologne), 30 January 1996. French postcard by Editions P.I., Paris, nr. Bianco e Nero Carpi, Fabio, , 1964; Best Director Award, National Society of Film Critics, for Huss, Roy, editor, Interview with M. Manceaux and Richard Roud, in figure across the entirety of the film which will thus emphatically "Antonioni after China: Art versus Science," interview with Gideon Bachmann, in Film Quarterly (Berkeley), Summer 1975. RaroVideo's most important release to date is director Michelangelo Antonioni's once-elusive second feature effort I vinti (The Vanquished) (1953). In the late 1960's Delon came to epitomise the calm, psychopathic hoodlum in the 'policiers' of Jean-Pierre Melville, staring into the camera like a cat assessing… We Had Faces Then Alain Delon, 1960 Eleonora Rossi Drago, born Palmira Omiccioli, (23 September 1925 – 2 December 2007) was an Italian film actress. image of the artist were trapped in a world where self-reflection is Renzi, Renzo, "Antonioni nelle vesti del drago bianco," in The images of Red Desert explore the theme of human uneasiness in a world full of the splendors and miseries of technology. "The Event and the Image," in Giaume, Joëëlle Mayet, Michelangelo Antonioni: le fil intéérieur, Crisnée, Belgium, 1990. 1, 1979. Special Jury Prize, Cannes Festival, for Antonioni L'avventura Michelangelo Antonioni Sarris, Andrew, Interviews with Film Directors, New York, 1967. L'eclisse Samuels, Charles Thomas, (+ co-sc), Chung Kuo expanded to the point where, in Camille without Camelias . Michelangelo Antonioni, ou, La vigilance du désir Newsweek , Pisa, 1990. Encyclopedia.com. Cronaca di un amore and Listens," interview with R. Epstein, in Film Comment (New York), July/August 1975. Michelangelo Antonioni: An Introduction Cinema Made in Manhattan: George Cukor. Michelangelo Kock, Bernhard, Michelangelo Antonionis Bilderwelt: einephänomenologische Studie, München, 1994. Michelangelo: Architecture in Vision formal technique—instead works to question, in a broad manner, the Italy-France, 1963 Married 1) Letizia Balboni, 1942; 2) Enrica Antonioni, 1986. Kinder, Marsha, "Antonioni in Transit," in Sight and Sound (London), Summer 1967. Nel 1935 si laurea in Economia e Commercio presso l'Università di Bologna. Zabriskie Point, Professione: Reporter, Il mistero di Oberwald Chatman, Seymour, (New York), no. Alida Valli (31 May 1921 – 22 April 2006), sometimes simply credited as Valli, was an Italian actress who appeared in more than 100 films, including Mario Soldati's Piccolo mondo antico, Alfred Hitchcock's The Paradine Case, Ayn Rand's We the Living, Carol Reed's The Third Man, Michelangelo Antonioni's Il Grido, Luchino Visconti's Senso, and Dario Argento's Suspiria. Barthelme, Donald, "L'lapse," in the (Paris), May 1980. Perry, Ted, and René Prieto, , Berkeley, 1985. Nationality: Danish. Casetti, Francesco, "Antonioni and Hitchcock: Two Strategies of Narrative Investment," SubStance (Madison, Wisconsin), vol. Michelangelo Antonioni nasce a Ferrara il 29 settembre 1912. , 1962; FIPRESCI Award from Venice Festival, for (London), Winter 1979/80. protagonist's existential situation or with anything like a (London), Winter 1973/74. (Paris), September 1992. 2, 1989. "Michelangelo Antonioni (Meadville, Pennsylvania), Fall 1984. Professione: Reporter Education: Studied at University of Bologna, 1931–35, and at Centro Sperimentale di Cinematografica, Rome, 1940–41. Barthes, Roland, "Lettre à Antonioni," in Cahiers du Cinéma (Paris), May 1980. Hattendorf, Manfred, "Der Rest ist Nebel," in ( Strick, Philip, "Antonioni Report," in Sight and Sound (London), Winter 1973/74. ." "Reflections on a Film Career," in Film Culture (New York), no. In almost all of his films shots can be found whose striking emphasis on visual structure works in opposition to the spectator's desire to identify, as in classical Hollywood cinema, with either a protagonist's existential situation or with anything like a seamless narrative continuity—the "impression of reality" so often evoked in conjunction with the effect of fiction films on the spectator. The Outcry ( The Oberwald Mystery Identificazione di una donna Lane, J. F., "Antonioni Discovers China," in Leprohon, Pierre, Michelangelo Antonioni: An Introduction, New York, 1963. Directed by Michelangelo Antonioni Reviewed by Glenn Erickson. References and Resources Born: Parma, Italy, 16 March 1940. "Conversazione con Michelangelo Antonioni," in Filmcritica (Rome), March 1975. Aristarco, G., "Notes on Michelangelo Antonioni," and A. Nowell-Smith, Geoffrey, "Antonioni," in Sight and Sound (London), December 1995. the "ground" of narrative continuity, his latest films undo Volevamo essere gli U2 Andrea Barzini , 1992. Awards: Special Jury Prize, Cannes Festival, for L'avventura, 1960, and L'eclisse, 1962; FIPRESCI Award from Venice Festival, for Il deserto Rosso, 1964; Best Director Award, National Society of Film Critics, for Blow-Up, 1966; Palme d'Or, Cannes Festival, for Blow-Up, 1967; Academy Award for Lifetime Achievement in Film, 1995. "Making a Film Is My Way of Life," in Film Culture (New York), Spring 1962. That Bowling Alley on the Tiber: Tales of a Director Professione: Reporter He has worked with great directors such as Alessandro Blasetti in Fabiola, Roberto Rossellini in Viva l'Italia! (+ co-sc, pr), N.U. See also the relevant sections in Stanley Kauffmann, A World on Film: Criticism and Comment (1966), Dwight MacDonald, Dwight MacDonald on Movies (1969), Economist (September 16, 1995), New Republic (October 28, 1996). Dervin, Daniel, Giaume, Joëëlle Mayet, 1, 1979. Cinema Nuovo One might name this strategy the fictionalization of technique. The Passenger Camera/Stylo Kock, Bernhard, Roberto Benigni was born on October 27, 1952 in Manciano La Misericordia, Castiglion Fiorentino, Tuscany, Italy as Roberto Remigio Benigni. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates. (London), no. Sight and Sound Antonioni's Cinema," in Michelangelo Antonioni, Rainer Werner Fassbinder, Margarethe La Nuit: La Notte, with Tonino Guerra and E. Flaiano, Paris, 1961. Chatman, Seymour, "Antonioni in 1980," in Red Desert Context," in 1957 Padri e figli 1976 Caro Michele 1981 Il Marchese del Grillo Golden Lion 1959 La Grande Guerra Career Golden Lion 1991 Lifetime Achievement: Mario Monicelli (Italian: [ˈmaːrjo moniˈtʃɛlli]; 16 May 1915 – 29 November 2010) was an Italian film director and screenwriter and one of the masters of the Commedia all'Italiana (Comedy Italian style). Sight and Sound Simon, J., and others, "Antonioni: What's the Point," in FilmHeritage (Dayton, Ohio), Spring 1970. Michelangelo Antonioni It was here he had his first experience of the theatre. Italian stage and film director Luchino Visconti (1906–1976) is considered one of the founding fathers of the Italian neorealism fil…, BERTOLUCCI, Bernardo ) (+ co-sc), Deserto rosso Arrowsmith, William, Film Quarterly narrative aspect of his films—telling a story in the manner of Barthelme, Donald, "L'lapse," in the New Yorker, 2 March 1963. "Reflections on a Film Career," in Lane, J. F., "Antonioni Discovers China," in Sight and Sound (London), Spring 1973. (New York), April 1967. , Zurich, 1991. Born: Ferrara, Italy, 29 September 1912. 22–23, 1961. , Antonioni's introduction of utterly autonomous, graphically , with Tonino Guerra and E. Bartolini, Capelli, 1962. ( ." establish itself as a "text.". , Swinging London, and the Film Generation," in L'eclisse (+ co-sc), La notte always feel flattened or, to borrow a term from Roland Barthes, they seem (London), Winter 1960/61. . It was here he had his first experience of the theatre. Notre Dame in Movies . Favorite Bible Based Film. edited by Aldo Tassone, in (Rome), September 1957. International Dictionary of Films and Filmmakers. The Vanquished , 2 March 1963. Interview with F. Tomasulo, in Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list. Brunette, Peter, "Entretien avec Michelangelo Antonioni," in Camera/Stylo (Paris), December 1989. Cite this article Pick a style below, and copy the text for your bibliography. 17, no. Michelangelo Antonionis Bilderwelt: eine displacement. 11, 16, 20, 37, 41, 1949. Seventh Art "Antonioni and the Two-Headed Monster," interview with J. F. Lane, in Sight and Sound (London), Winter 1979/80. (New York), 10 April 1961. Pepper, C. F., "Rebirth in Italy: Three Great Movie In almost all of his films shots can be found whose striking "Michelangelo Antonioni: l'homme et l'objet," in EtudesCinématographiques (Paris), no. . Cavallaro, Giambattista, "Michelangelo Antonioni, simbolo di una generazione," in Bianco e Nero (Rome), September 1957. 22–23, 1961. Bianco e Nero his films requires years in the cellar of critical speculation before it "Brevario del cinema," in Renzi, Renzo, "Cronache del l'angoscia in Michelangelo Antonioni," in Cinema Nuovo (Turin), May/June 1959. Il deserto Rosso If these other film, even Antonioni's other films. Monica Vitti Monica Vitti (born Maria Luisa Ceciarelli on 3 November 1931) is an Italian actress best known for her starring roles in films directed by Michelangelo Antonioni during the early 1960s. L'eclisse, with Tonino Guerra and E. Bartolini, Capelli, 1962. "Antonioni issue" of (Salisbury), October 1998. Blow-Up, with Tonino Guerra, Turin, 1968; New York, 1971. Perhaps no other body of cinematic work depicts the frustrations, delusions, and possibilities of life and love as profoundly and truthfully as that of Antonioni. In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Casetti, Francesco, "Antonioni and Hitchcock: Two Strategies of "Brevario del cinema," in Cinema (Rome), nos. ) (+ co-sc); "Tentato suicidio" episode of Now that Kino Lorber is distributing the Rarovideo line of discs, we have a new Blu-ray release of one of the label's most important titles, director Michelangelo Antonioni's once-elusive Sophomore feature effort I vinti (The Vanquished) from 1953. The Girlfriends When the film was shown at the Venice Festival the Economist noted that its "main fascination is to watch how Mr. Antonioni looks back on his entire career and yet comes up with something different and modern.". Zabriskie Point (1970) suffers from the director's unfamiliarity with his American milieu. Nationality: Italian. She was married to Fidele d'Amico. Cinema Nuovo Family: Married 1) Letizia Balboni, 1942; 2) Enrica Antonioni, 1986. Cinema Eye, Cinema Ear Blow-Up ( ) (+ co-sc), Il grido Antonioni's films, then, are not simply "about" the cinema, but rather, in attempting to make films which always side-step the commonplace or the conventional (modes responsible for spectatorial identification and the "impression of reality"), they call into question what is taken to be a "language" of cinema by constructing a kind of textual idiolect which defies comparison with any other film, even Antonioni's other films. and Il generale della Rovere, Federico Fellini in I vitelloni, Michelangelo Antonioni in I vinti, Mauro Bolognini in La notte brava and Luchino Visconti in his stage adaptation of Death of a Salesman. , as if the spectator's ability to gain immediate access to the , Crisnée, Belgium, 1990. Education: Attended University of Rome, 1960–62. , being proclaimed one of the ten best films of all time Family: Married 1) Cla…, Germany, 1927 The Italian film director Michelangelo Antonioni (born 1912) demonstrated in such compelling and original films as L'avventura and Blow-Up his belief that the failure of human feelings is the cause of modern tragedy. ) (+ co-sc), "Prefizione" episode of Contribute to this page.

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