Search Results for: "michelangelo antonioni"

Michelangelo Antonioni’s L’eclisse (The Eclipse, 1962) opens rather enigmatically with the fatigued denouement of the relationship between the film’s central protagonist, Vittoria (Monica Vitti), and her former...

Michelangelo Antonioni’s Il deserto rosso (Red Desert, 1964) was the Italian filmmaker’s first feature in colour. This might seem like a major change for the director known for what had become his stylistic sig...

When I entered Michelangelo Antonioni’s apartment in Rome to interview his wife and long-standing collaborator Enrica Fico, I saw his clothes elegantly arranged on the furniture, ready to be sold for charity. S...

Introductory note: 2015 sees the 40th anniversary of Michelangelo Antonioni's The Passenger (aka Profession: Reporter), arguably one of the Italian director's greatest masterpieces. To mark the occasion, Senses...

Introduction and Context: (Up)Setting the Stage “It was the mid-1970s,” reminisces a Chinese blogger, writing over three decades later in November 2009. “I was in my third year of primary school … in a small J...

b. September 29, 1912, Ferrara, Italy d. July 30, 2007, Rome, Italy filmography bibliography articles in Senses web resources The films of Michelangelo Antonioni are aesthetically complex - critic...

Fifty years ago, on 12 May 1967, the Jury of the Cannes Film Festival awarded its top prize to Blow-Up, Michael Antonioni’s first English language film. Shot in London in late summer the previous year, it has i...

Cinema today should be tied to the truth rather than to logic. And the truth of our daily lives is neither mechanical, conventional nor artificial, as stories generally are, and if films are made that way, they...

Feature image: Plate spinners at work in Shanghai, 1972, in Antonioni’s Chung kuo, Cina (1972). I want to be there, in that audience in 1972, watching those plate spinners and their amazing feats of derring-do...

In 1975 Michelangelo Antonioni had completed his English language trio of films for Italian producer Carlo Ponti and MGM, an unique mainstream contract for an essentially art house filmmaker. Zabriskie Poin...

Whilst looking at the long and illustrious history of Technicolor films, Murray Pomerance uncovers the remarkable uses Michelangelo Antonioni put the Technicolor process through in his 1964 Red Desert and beyond.

Tony McKibbin examines what he calls the “ontological problem of nudity in Michelangelo Antonioni’s work”. A refreshing focus on an aspect of Antonioni’s films not often discussed in commentaries on his work.

Deleuze's concept of the "time-image" offers insights into Antonioni's still-radical treatment of time and space.

Zabriskie Point (1970, US, 110 mins) Dir: Michelangelo Antonioni; Producer: Carlo Ponti; Writers: Michelangelo Antonioni, Fred Garner, Sam Shepard, Tonino Guerra, Clare Peploe; Cinematography: Alfio Contini;...

b. 22 April 1937, Neptune City, New Jersey, United States The Affective Structure of Furious Feeling: Masculinist Anger in the American New Wave and in Its Wake It goes without saying that Jack Nicholson (b. ...

One key takeaway from Alejo Moguillansky’s films is that by telling one's personal story, you can illuminate broader topics and issues. In an effort to elucidate his cinematic approach and truly describe his di...

Filmmakers have long been fascinated with photography’s ability to thematise the productive, typically resistant, interplay between the human and the nonhuman, where the ‘nonhuman’ can refer to both technology ...

This article was originally published by “Cteq: Annotations on Film” when it appeared in Metro, no. 117 (1998). It is republished here with permission and includes some minor additions and corrections. Gille...

Is Anna (Pierre Koralnik, 1967) desperately modish or a critique of desperate modishness? Like most social satires, it prefers to have its cake and eat it. Anna depicts a world that is superficial, conformist, ...

ENTRIES IN PART 2: José Cabrera Betancort Thomas Caldwell Nicolas Carrasco Michael J. Casey Kevin Cassidy Guilherme Cavalcanti Daryl Chin Kristen Marie Coleman Jesús Cortés Jordan Cronk Joe CruzBrian...

Oh, the soft sound of rain On the ground, on the town. For the heart in its pain Oh, the sound of the rain! - Paul Verlaine, “ Il pleure dans mon coeur”[1. Paul Verlaine, “Il pleure dans mon coeur,” 1885....

In a response to The Independent’s obituary of Serge Daney dated June 1992, Louis Skorecki wrote: “He was the only film critic of real value in France in the last 20 years and one of the only original writers ...

Over the course of nearly two decades, Alexandre O. Philippe has celebrated and explored the iconic figures of the seventh art, from Lucas and Ford to Hitchcock and Lynch. His unique approach not only reveals n...

Korean-Chinese director Zhang Lu, a former writer and academic, ventured into the world of cinema in the early 2000s. His debut short, called 11 sui (Eleven, 2000), was selected for competition at the 58th Veni...

Often cited as Federico Fellini’s most autobiographical film and the last of his greats, Amarcord (1973) can also be seen as one of the most autobiographical works produced by its screenwriter, Tonino Guerra. G...

ENTRIES IN PART 6: Josh B Mabe Jonathan Mackris Ioannis Makris Bob Manning Miguel MaríasJack Mcculloch Jamie Mendonça Douglas Messerli Stefano Miraglia Olaf Möller Josh B Mabe Librarian & F...

ENTRIES IN PART 7: Maria San Filippo Rowena Santos Aquino José Sarmiento Hinojosa Valerie Soe Öykü Sofuoğlu Mark Spratt Vedant Srinivas Tyson Stewart Iván SuárezJosh Timmermann Tomas Trussow Koen Van...

This MIFFmas, we’re bringing you two dossiers derived from what’s on offer at the 70th edition of the Melbourne International Film Festival. Guest editors John Edmond and Alison Taylor cover the breadth and dep...

The revolution may not have been televised, but it was certainly filmed. In 1970, youth rallied in droves and studios rolled out the little red carpet: MGM released The Strawberry Statement (Stuart Hagmann), Za...

Michelangelo Antonioni’s Blow-Up (1966) contains obvious differences from its source material, Julio Cortázar’s short story Las Babas del Diablo (1959), yet the ambiguous treatment of reality is an important si...

The hotel space is one of the most uncanny products of the modern world. On the one hand, it accommodates leave and stay, transit and temporary spatial engagement, physically disarranging territorial compositio...

A florist named Adelaide (Monica Vitti) sits behind a concave glass window, quietly observing something we cannot see. She’s handed a drink by the wealthy Amleto (Hercules Cortes), who loudly explains a cow’s a...

ENTRIES IN PART 1: Antti Alanen Victor Alicea Francisco Algarín Navarro Salvador Amores Geoff Andrew Cinema Antiviral. Martyn Bamber Jennifer Lynde Barker Arta Barzanji Amarsanaa Battulga Mike Bartl...

ENTRIES IN PART 3: William Edwards Samantha Egensteiner Gerónimo Elortegui John K. Emelianoff Adalberto Fonkén Gwendolyn Audrey Foster Simon Foster Sachin GandhiFlora Georgiou Sean Gilman Antony I. Gi...

“The cinema is unequaled for revealing all the basic truths about a nation.” Alberto Lattuada Two years since the last physical edition of Locarno, the festival’s message of hope is displayed brightly in bold...

After a modest attempt to create a national film industry in bilingual Belgium had run aground in the 1950s, Belgian cinema was split into two separate small cinemas – a Flemish and a Walloon (French-speaking) ...