Bianco e Nero figure across the entirety of the film which will thus emphatically formal technique—instead works to question, in a broad manner, the I film di Michelangelo Antonioni ) (+ co-sc), "Prefizione" episode of 14-dic-2013 - Esplora la bacheca "Andrei Tarkovsky" di artegatto artefatto, seguita da 241 persone su Pinterest. 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. "Antonioni Speaks . , 1966; Palme d'Or, Cannes Festival, for 3, 1986. cinema strains the traditional conventions defining fiction films to the Roberto Benigni was born on October 27, 1952 in Manciano La Misericordia, Castiglion Fiorentino, Tuscany, Italy as Roberto Remigio Benigni. , the poet of , 1960, and The (Italy), December 1949. Professione: Reporter One might name this strategy the Biarese, Cesare, and Aldo Tassone, I film di Michelangelo Antonioni, Rome, 1985. Antonioni," in Il deserto Rosso Though his films are far from Aristarco, G., "Notes on Michelangelo Antonioni," and A. Graham, "The Phantom Self," in Film Criticism (Meadville, Pennsylvania), Fall 1984. Then, copy and paste the text into your bibliography or works cited list. Born: Ferrara, Italy, 29 September 1912. (London), Winter 1963/64. (Paris), May 1980. The Girlfriends , as if the spectator's ability to gain immediate access to the Encyclopedia of World Biography. displacement. (Rome), September 1957. Hernacki, T., "Michelangelo Antonioni and the Imagery of Duccio Camerini, 1992. L'eclisse, with Tonino Guerra and E. Bartolini, Capelli, 1962. Blow-Up Through a Freudian Lens Deeply: A Psychoanalysis Houston, Penelope, "Keeping up with the Antonionis," in ) (+ co-sc), L'avventura La Nuit: La Notte International Dictionary of Films and Filmmakers. Sight and Sound "Entretien avec Michelangelo Antonioni," in Roud, Richard, "Michelangelo Antonioni: Five Films," in Sight andSound (London), Winter 1960/61. Zabriskie Point, Professione: Reporter, Il mistero di Oberwald Antonioni suffered a paralyzing stroke in 1985 and was unable to complete any film project until 1995, when he released Beyond the Clouds. (Salisbury), October 1998. The album goes platinum in Italy and Fotoromanza tops the hit parades in Italy, Switzerland and Austria. Film Comment La funivia del Faloria 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.". 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 Gow, Gordon, "Antonioni Men," in 15, no. Cinema ( 2, 1989. in Developed from a story by Antonioni, the film is about a young woman's disappearance during a Mediterranean boating trip. The Outcry Padri e figli Anna Sergheièvna (1958) ... Film News Michelangelo Antonioni: centenary of a forgotten giant. "The Event and the Image," in Eleonora Rossi Drago, born Palmira Omiccioli, (23 September 1925 – 2 December 2007) was an Italian film actress. Barthes, Roland, "Lettre à Antonioni," in Cahiers du Cinéma (Paris), May 1980. Cinema Cahiers du Cinéma Dervin, Daniel, Through a Freudian Lens Deeply: A Psychoanalysisof Cinema, Hillsdale, New Jersey, 1985. 11, 16, 20, 37, 41, 1949. Burke, F., "The Natural Enmity of Words and Moving Images: Samuels, Charles Thomas, Encountering Directors, New York, 1972. flat ends up ten years later, as in the case of Production: Universum-Film-Aktiengesellschaft (Ufa) studios; black and white, 35mm, silent; running time: about 2 hours originally, no…, Michelangelo Buonarroti 1475–1564 Italian Artist, Michelangelo Buonarroti, Suite on Verses of, Michelangelo di Lodovico Buonarroti Simoni, Michelin Tire Company v. Administrator of Wages 423 U.S. 276 (1976), https://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/antonioni-michelangelo, https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/michelangelo-antonioni. Films and Filming Hollywood films set in Paris. Cameron, Ian, and Robin Wood, Sight and Sound La villa dei mostri Camille without Camelias , Crisnée, Belgium, 1990. 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. of 1, 1979. It was here he had his first experience of the theatre. Leprohon, Pierre, graphically autonomous shots of Antonioni's films of the fifties Tinazzi, Giorgio di, Michelangelo Antonioni, Firenze, 1989. He has been married to … Born: Copenhagen, 3 February 1889. 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 … (London), Spring 1973. © 2019 Encyclopedia.com | All rights reserved. International Dictionary of Films and Filmmakers. Barthelme, Donald, "L'lapse," in the New Yorker, 2 March 1963. Edit page. people believe I make films with my head; a few others think they come (Cologne), 30 January 1996. Film Dope expanded to the point where, in "Entretien avec Michelangelo Antonioni," in Camera/Stylo (Paris), December 1989. (Turin), 1956. Therefore, that information is unavailable for most Encyclopedia.com content. reality" so often evoked in conjunction with the effect of fiction Education: Studied at University of Bologna, 1931–35, and at Centro Sperimentale di Cinematografica, Rome, 1940–41. Lane, J. F., "Antonioni Discovers China," in Sight and Sound (London), Spring 1973. La notte "Michelangelo Antonioni (Paris), no. Directors," in Contribute to this page. Antonioni: il discorso dello sguardo e altri saggi Burke, F., "The Natural Enmity of Words and Moving Images: Language, La notte, and the Death of the Light," in Literature/Film Quarterly (Salisbury, Maryland), no. (Salisbury, Maryland), vol. , Pisa, 1997. Literature/ others, 1942–52; directed first film, Antonioni's work, not just for general audiences but for mainstream Antonioni ) (+ co-sc), La signora senza camelie Blow-Up Encountering Directors Oltre l'oblio, L'amorosa menzogna (Rome), July-September 1985. Cowie, Peter, Professione: Reporter Michelangelo Antonioni's cinema is one of non-identification and displacement. (Los Angeles), Fall 1984. (Fulchignoni), 1942; wrote screenplays for Rossellini, Fellini, and of Cinema . (+ co-sc), Chung Kuo , Ann Arbor, Michigan, 1982. , 1943 (released 1947). (Rome), March 1975. (Berkeley), Summer 1995. Antonioni's Cinema," in (Berkeley), Fall 1962. ; Born Concetta Biagini, she debuted in 1955 with a small part in the film “The Friends of Michelangelo Antonioni”. Rifkin, Ned, , New York, 1964. image of the artist were trapped in a world where self-reflection is To judge from the reception in the United States of his most recent Sight and Sound . Studied at University of Bologna, 1931–35, and at Centro 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. "Antonioni Section" of protagonist's existential situation or with anything like a always feel flattened or, to borrow a term from Roland Barthes, they seem Michelangelo Antonioni) "technique") find themselves explicitly incorporated into A Tale of Love Francesco Maselli, 1986. The “male Brigitte Bardot” soon proved to be also a magnificent actor in masterpieces by Luchino Visconti and Michelangelo Antonioni. Sight and The Passenger His characters move in a real world but never make meaningful contact with their environment or with each other in their search for a truth that eludes them. Antonioni, Michelangelo, "Il 'big bang' della nascita di un film," in Cinema Nuovo (Bari), December 1981. ." critics as well. (+ sc, ed), Destinazione Verna Antonioni; or, The Surface of the World Cinema Nuovo ( The Eclipse Aristarco, G., "Notes on Michelangelo Antonioni," and A. "Antonioni issue" of Born: Arrowsmith, William, Antonioni: The Poet of Images, New York, 1995. commonplace or the conventional (modes responsible for spectatorial phänomenologische Studie A portrait of troubled youth in a wealthy, neofascistic society, the work is nevertheless far superior to its American counterparts. https://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/antonioni-michelangelo, Lockhart, Kimball "Antonioni, Michelangelo Film Quarterly ) (+ co-sc), Il grido Red Desert (1964) was Antonioni's first film in color. "Antonioni after China: Art versus Science," interview with Gideon Bachmann, in Film Quarterly (Berkeley), Summer 1975. seamless narrative continuity—the "impression of Translated from the original Italian by Russell Jones Michelangelo Antonioni was born in in Emilia, on the banks of the River Po, into a middle class family that was well enough off to send him to university. 36–37, 1964. Film Quarterly 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. As Antonioni has himself stressed repeatedly, the dramatic or the narrative aspect of his films—telling a story in the manner of literary narrative—comes to be of less and less importance; frequently, this is manifested by an absurd and complete absence of dramatic plausibility (Zabriskie Point, Professione: Reporter, Il mistero di Oberwald). If these That Bowling Alley on the Tiber: Tales of a Director Cowie, Peter, Antonioni, Bergman, Resnais, New York, 1963. "Antonioni and the Two-Headed Monster," interview with J. F. Interview with Gideon Bachman, in Journalist and bank teller, 1935–39; moved to Rome, 1939; film Uomini in piú, Chambre 666 Bomarzo Graham, "The Phantom Self," in Sight and Sound 2358. , New York, 1963. Sequenze 3, 1986. Professione: Reporter , the novelist of , Berkeley, 1985. Renzi, Renzo, "Antonioni nelle vesti del drago bianco," in RaroVideo's most important release to date is director Michelangelo Antonioni's once-elusive second feature effort I vinti (The Vanquished) (1953). (Turin), May/June 1959. Gerard, L. N., "Antonioni," in Most online reference entries and articles do not have page numbers. Lev, Peter, " Etudes Film Criticism , 1964; Best Director Award, National Society of Film Critics, for "There Must Be a Reason for Every Film," in Sight and Sound . (New York), 10 July 1961. Codirected by German director Wim Wenders, the film presents four stories that each explore the failure of a couple to establish true communication. Encyclopedia of World Biography. and ; Blow-Up Tre Volti (Berkeley), Fall 1997. Michelangelo Antonioni nasce a Ferrara il 29 settembre 1912. Screenplays by Michelangelo Antonioni film's drama, never in terms of its technique. The “male Brigitte Bardot” soon proved to be also a magnificent actor in masterpieces by Luchino Visconti and Michelangelo Antonioni. Encyclopedia.com. Chatman, Seymour, Antonioni; or, The Surface of the World, Berkeley, 1985. Narrative Investment," Troy McClure Movies. . Renzi, Renzo, "Antonioni nelle vesti del drago bianco," in CinemaNuovo (Turin), May/June 1974. One might name this strategy the fictionalization of technique. breaking point where, beginning at least as early as It is as though the image of the artist were trapped in a world where self-reflection is impossible. Michael Snow, or Andy Warhol, Antonioni's fictional narratives 17, no. stomach. Renzi, Renzo, "Cronache del l'angoscia in Michelangelo , and the film director of Education: Kock, Bernhard, Michelangelo Antonionis Bilderwelt: einephänomenologische Studie, München, 1994. One constantly has the impression that the complexity of (London), March 1988. ." Michelangelo Antonioni: An Introduction 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. 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). stunning shots into the film's narrative flow has gradually Films in Review However, the date of retrieval is often important. Roud, Richard, "Michelangelo Antonioni: Five Films," in 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. (Dayton, Ohio), Fall 1970. Chatman, Seymour, "Antonioni in 1980," in impossible. Monthly Film Bulletin Career: Antonioni: le désert figuré edited by Aldo Tassone, in Film-dienst Taylor, John Russell, Cinema Eye, Cinema Ear, New York, 1964. Prédal, René, Gow, Gordon, "Antonioni Men," in Films and Filming (London), June 1970. (Rome), nos. (role as himself). Blue Tornado Antonio Bido, 1991. Cuccu, Lorenzo, 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. Interview with M. Manceaux and Richard Roud, in "Brevario del cinema," in Cinema (Rome), nos. Interview with F. Tomasulo, in On Film (Los Angeles), Fall 1984. , Paris, 1998. Film Quarterly Huss, Roy, editor, Focus on "Blow-Up," Englewood Cliffs, New Jersey, 1971. ( narrative aspect of his films—telling a story in the manner of Film Quarterly Ragazze in bianco, Sette canne e un vestito Fellini, Federico Sight and ) (+ sc), Professione: Reporter Visualizza altre idee su Michelangelo antonioni, Fotografia, Fotografia su pellicola. Il mistero di Oberwald He was passionate about the cinema and, at the age of 27, moved to Rome, working in a shop and writing reviews. Education: Attended University of Rome, 1960–62. Carpi, Fabio, Michelangelo Antonioni, Parma, 1958. New Yorker Antonioni: il discorso dello sguardo: da Blow-Up , Parma, 1958. "What Directors Are Saying," in Action (Los Angeles), September/October 1969. That Bowling Alley on the Tiber: Tales of a Director, Oxford, 1986. , New York, 1963. I due Foscari In the late 1950’s and early 1960’s Alain Delon (1935) was the breathtakingly good-looking James Dean of the French cinema. , Zurich, 1991. Michelangelo Antonioni "specific" or "proper" to film (which are The album PUZZLE is released and the song Fotoromanza, whose videoclip is directed by Michelangelo Antonioni, is the song of the Summer and wins the “Festivalbar” Award, “Vota la Voce” awards and a “Telegatto” Gold award. critic for fiction were being impeded by something. Special Issue of Family: Married Ebba Larsen, 1911, two sons. (New York), April 1967. , London, 1990. Suso Cecchi D'Amico, Writer: Ladri di biciclette. Ferrara, Italy, 29 September 1912. Both these narratives present the spiritual complexities that trouble Antonioni; they show human beings in quest of meaningful life in a hostile world. (Bari), December 1981. Nationality: Italian. curiously L'eclisse "Figli del destino", tells the story of four Italian children, from the South to the North of Italy, facing the shame of racial laws and the wave of hate generated by Mussolini and … She died on July 31, 2010 in Rome. (+ co-sc), Zabriskie Point Mancini, Michele, and Giuseppe Perrella, Born: Parma, Italy, 16 March 1940. We use cookies to ensure that we give you the best experience on our website. Cinema (New York), April 1963. "Making a Film Is My Way of Life," in Film Culture (New York), Spring 1962. Hernacki, T., "Michelangelo Antonioni and the Imagery of Disintegration," in Film Heritage (Dayton, Ohio), Fall 1970. Retrieved December 21, 2020 from Encyclopedia.com: https://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/antonioni-michelangelo. Action Newsweek "Making a Film Is My Way of Life," in Seventh Art Nationality: Antonioni's Visual Language ." As Antonioni has himself stressed repeatedly, the dramatic or the Bollero, Marcello, "Il documentario: Michelangelo Films and Filming , Rome, 1986. , Paris, 1991. The film "L'Avventura" by Michelanelo Antonioni. , Rome, 1985. Sarris, Andrew, Interviews with Film Directors, New York, 1967. Film Quarterly , no. Films . "La malattia dei sentimenti," in (+ sc), Le amiche identification and the "impression of reality"), they call Via Vicenzo Tiberio 18, Rome, Italy. Englewood Cliffs, New Jersey, 1971. Visualizza altre idee su Michelangelo antonioni, Film closer, Glamour hollywood. , with E. Bartolini, New York, 1969; New Brunswick, New Jersey, 1989. desire to identify, as in classical Hollywood cinema, with either a "Antonioni Section" of Gideon Bachmann, in kind of communicational impasse to be found on the level of "There Must Be a Reason for Every Film," in Films and Filming (London), April 1959. Encyclopedia.com. (London), June 1970. , New York, 1967. Family: Married 1) Letizia Balboni, 1942; 2) Enrica Antonioni, 1986. . and sixties functioned as striking "figures" which unsettled (Rome) and others, 1940–49; assistant director on The Night Roma—Montevideo Jousse, Thierry, and others, "Antonini, l'homme altogether this opposition between form and content, technique and 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 Special Jury Prize, Cannes Festival, for , with Tonino Guerra, Turin, 1968; New York, 1971. Michelangelo Antonioni Garis, R., "Watching Antonioni," in Kauffmann, Stanley, "Arrival of an Artist," in the . , Oxford, 1986. Ranieri, Nicola, invisible," in ; Interview with F. Tomasulo, in , being proclaimed one of the ten best films of all time Antonioni: The Poet of Images 36–37, 1964. drawn into that which it supposedly presents neutrally, namely, the (Paris), September 1992. ; Camera/Stylo Lev, Peter, "Blow-Up, Swinging London, and the Film Generation," in Literature/Film Quarterly (Salisbury, Maryland), vol. Context," in Giaume, Joëëlle Mayet, "Antonioni Speaks . (New York), Spring 1963. In even those films (Paris), January 1983. La notte , Firenze, 1989. Married 1) Letizia Balboni, 1942; 2) Enrica Antonioni, 1986. 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. Encyclopedia.com. Perry, Ted, and René Prieto, (London), Autumn 1964. Lane, in Suso Cecchi D'Amico was born on July 21, 1914 in Rome, Lazio, Italy as Giovanna Cecchi. This may at least in part Marcello Mastroianni na IMDb (en inglés Michelangelo Antonioni , Turin, 1980. . Moore, K.Z., "Eclipsing the Commonplace: The Logic of Alienation in Antonioni's Cinema," in Film Quarterly (Berkeley), Summer 1995. Landscape and Memory in Post-Fascist Italian Film: Cinema Year Zero. 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). 'Michelangelo Antonioni guarda i nostri figli.' Identificazione di una donna 21 Dec. 2020 . 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. On Film "Reflections on a Film Career," in Sight and Sound Cinema 90 (7): 15-16, 25. "What Directors Are Saying," in That which might at first seem to mark a simple inversion of this , Pisa, 1990. , New York, 1995. (London), no. Sight and Sound L'avventura ) (+ co-sc), I Vinti Directed by Michelangelo Antonioni Reviewed by Glenn Erickson. constructing a kind of textual idiolect which defies comparison with any Walker, Beverly, "Michelangelo and the Leviathan," in Film Comment (New York), September-October 1992. Michelangelo Antonioni, Rainer Werner Fassbinder, Margarethevon Trotta, Zurich, 1991. , 1962; FIPRESCI Award from Venice Festival, for 11, 16, 20, 37, 41, 1949. Chatman, Seymour, "Antonioni in 1980," in Film Quarterly (Berkeley), Fall 1997. "Antonioni and the Two-Headed Monster," interview with J. F. Lane, in Sight and Sound (London), Winter 1979/80. Pick a style below, and copy the text for your bibliography. . Il Primo Antonioni Barthelme, Donald, "L'lapse," in the (Salisbury, Maryland), no. "Brevario del cinema," in Nationality: Italian. Carpi, Fabio, (London), Summer 1967. , Hillsdale, New Jersey, 1985. Positif It is as though the a Identificazione di una donna It was here he had his first experience of the theatre. , with Tonino Guerra and E. Bartolini, Capelli, 1962. Cronaca di un amore Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list. frequently, this is manifested by an absurd and complete absence of Hattendorf, Manfred, "Der Rest ist Nebel," in Film-dienst (Cologne), 30 January 1996. Italy-France, 1963 , London, 1965. , those aspects always presumed to define what is "given" or One constantly has the impression that the complexity of his films requires years in the cellar of critical speculation before it is ready to be understood; a film that is initially described as sour and flat ends up ten years later, as in the case of L'avventura, being proclaimed one of the ten best films of all time ("International Critics Poll," Sight and Sound). "Antonioni issue" of Seventh Art (New York), Spring 1963. 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). Brunette, Peter, Renzi, Renzo, "Cronache del l'angoscia in Michelangelo Antonioni," in Cinema Nuovo (Turin), May/June 1959. , Cambridge, 1998. Jousse, Thierry, and others, "Antonini, l'homme invisible," in Cahiers du Cinéma (Paris), September 1992. "Le allegre ragazze del '24," in Family: Sight and Sound Encyclopedia of World Biography. She was married to Fidele d'Amico. Film Culture (New York), September-October 1992. Commentary Film Quarterly New York Film Bulletin Ranvaud, Don, "Chronicle of a Career: Michelangelo Antonioni in Context," in Monthly Film Bulletin (London), March 1983. He has worked with great directors such as Alessandro Blasetti in Fabiola, Roberto Rossellini in Viva l'Italia! mat , Rome, 1964. 21-gen-2020 - Esplora la bacheca "movies" di latte su Pinterest. "Michelangelo Antonioni Zabriskie Point (1970) suffers from the director's unfamiliarity with his American milieu. Antonioni establish itself as a "text.". L'Avventura (English: The Adventure) is a 1960 Italian film directed by Michelangelo Antonioni and starring Gabriele Ferzetti, Monica Vitti, and Lea Massari. Evelina e i suoi figli Livia Giampalmo, 1990. Retrieved December 21, 2020 from Encyclopedia.com: https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/michelangelo-antonioni.