Share on Facebook Share on Twitter Email
Answers.com

Michelangelo Antonioni

 
Britannica Concise Encyclopedia: Michelangelo Antonioni
Home > Library > Miscellaneous > Britannica Concise Encyclopedia

(born Sept. 29, 1912, Ferrara, Italy — died July 30, 2007, Rome) Italian film director and producer. He wrote film reviews and studied filmmaking before directing his short film People of the Po Valley (1947). His first major film, The Girlfriends (1955), was followed by the international successes The Adventure (1960), The Eclipse (1962), and Blow-up (1966). His other films include The Red Desert (1964), Zabriskie Point (1970), and The Passenger (1974). In Antonioni's films, plot and dialogue are subordinated to the visual image, which becomes a metaphor of human existence rather than a record of it.

For more information on Michelangelo Antonioni, visit Britannica.com.

Search unanswered questions...

Enter a question here...
Search: All sources Community Q&A Reference topics

Biography: Michelangelo Antonioni
Top
Home > Library > Miscellaneous > Biographies

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.

Born into an upper-middle-class family in Ferrara, Michelangelo Antonioni took a degree in political economics at the University of Bologna. Having decided on a film career, he worked with the directors Roberto Rossellini and Marcel Carné, among others. The first films Antonioni directed were three notable documentary shorts: Gente del Po (1947), La funivia del Faloria (1950), and La villa dei mostri (1950).

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. Antonioni's next work, I vinti (1952), proved an unsuccessful attempt to lend thematic unity to an episodic and discursive narrative. Considerably more interesting as indicators of the consistent subjects and themes of his film career were Le amiche (1955) and II grido (1957). Both these narratives present the spiritual complexities that trouble Antonioni; they show human beings in quest of meaningful life in a hostile world.

With L'avventura (1960) Antonioni, after 10 years of virtual obscurity, suddenly set fire to complacent sensibilities of international film audiences and critics. A penetrating voyage into the tortured recesses of the mind, this film explores the difficulty of sustaining love in a cauterized and fraudulent society. This theme also provided the basis for the two subsequent works: La notte (1961) and Eclipse (1962). In both these films Antonioni stresses the impermanence of love and difficulties of communication.

Red Desert (1964) was Antonioni's first film in color. He used color to create psychological nuances and conceptual patterns not possible in chiaroscuro. The images of Red Desert explore the theme of human uneasiness in a world full of the splendors and miseries of technology. Blow-Up (1966) is a metaphysical mystery drama set in London. This film is an evocative mixture of asceticism and lyricism, which eludes patterns of interpretation and frustrates conventional expectations of plot and theme. Zabriskie Point (1970) suffers from the director's unfamiliarity with his American milieu. A portrait of troubled youth in a wealthy, neofascistic society, the work is nevertheless far superior to its American counterparts. 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. The Oberwald Mystery (1980) is an adaptation of Jean Cocteau's play The Eagle Has Two Heads; shot on video, it is interesting mainly for its experimentation with color. 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. The film was awarded a Grand Prix at the 1982 Cannes Film Festival.

Antonioni suffered a paralyzing stroke in 1985 and was unable to complete any film project until 1995, when he released Beyond the Clouds. Codirected by German director Wim Wenders, the film presents four stories that each explore the failure of a couple to establish true communication. 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."

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. 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.

Further Reading

Analyses of Antonioni's artistry are contained in Jonathan Baumbach's "From A to Antonioni: Hallucinations of a Movie Addict" in W.R. Robinson, ed., Man and the Movies (1967); in Stanley Kauffmann's "Some Notes on a Year with Blow-Up" in Richard Schickel and John Simon, eds., Film: Sixty Seven to Sixty Eight (1968); in Sam Rohdie's Antonioni (Indiana University Press, 1990), and in William Arrowsmith's Antonioni: The Poet of Images, ed. by Ted Perry (Oxford, 1995). 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).

 
Columbia Encyclopedia: Michelangelo Antonioni
Top
Home > Library > Miscellaneous > Columbia Encyclopedia - People
Antonioni, Michelangelo (mëkālän'jālō äntōnyô'nē), 1912-2007, Italian film director and scriptwriter, b. Ferrara, Italy. In the 1940s he made documentaries that contributed to the development of Italian neorealism. His later feature films, which turned away from neorealism to more personal statements, proved to be controversial among audiences and extremely influential with younger filmmakers. These slow-moving and often enigmatic works deal with the alienation, malaise, and loveless eroticism of modern life, with plot and dialogue often subordinate to visual and aural images. His works include Le Amiche (1955); a trilogy consisting of L'Avventura (1960), La Notte (1961), and L'Eclisse (1962); The Red Desert (1964), his first color film; Blow-Up (1966), his best-known film; Zabriskie Point (1970), his first American film and a commercial flop; The Passenger (1975); Identification of a Woman (1982); and Beyond the Clouds (1995), based on a book of his short stories.

Bibliography

See C. di Carlo and G. Tinazzi, The Architecture of Vision: Writings and Interviews on Cinema/Michelangelo Antonioni (tr. 1996, repr. 2007); studies by I. Cameron and R. Wood (rev. ed. 1971), S. Chatman (1985), S. Rohdie (1990), W. Arrowsmith, ed. (1995), and P. Brunette (1998); T. Perry, Michelangelo Antonioni, A Guide for Reference and Resources (1986); E. Antonioni's Making a Film for Me Is Living (film, 1995).

Director: Michelangelo Antonioni
Top
Home > Library > Entertainment & Arts > Actors
  • Born: Sep 29, 1912 in Ferrara, Italy
  • Died: Jul 30, 2007 in Rome, Italy
  • Occupation: Director, Writer, Actor
  • Active: '40s-'80s, 2000s
  • Major Genres: Drama
  • Career Highlights: L'Avventura, The White Sheik, Identificazione di Una Donna
  • First Major Screen Credit: Un Pilota Ritorna (1942)

Biography

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. Haunted by a sense of instability and impermanence, his work defined a cinema of possibilities, a shifting landscape of thoughts and ideas devoid of resolution; in Antonioni's world, riddles were not answered, but simply evaporated into other riddles.

Antonioni was born on September 29, 1912, in Ferrara, Italy; as a child, his interests included painting and building architectural models (an interest which continued in the design and decor of his films). After graduating from high school, he attended the University of Bologna, where he initially studied classics but later emerged with a degree in economics. While he was at college, his 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. Antonioni's initial attempt at filmmaking was a documentary profiling a nearby insane asylum; the project was aborted because the inmates would lapse into fits of panic each time the lights of the camera were turned on.

By 1939, Antonioni had chosen the cinema as his life's work, and he soon relocated to Rome, where he accepted a position at Cinema, the official Fascist film magazine edited by Mussolini's son, Vittorio. After being dismissed over a political disagreement, Antonioni enrolled at the Centre Sperimentale to study film technique. By age 30, he was working professionally in the film industry; his first screenplay went unproduced, but he was soon hired to co-write Roberto Rossellini's Un Pilota Ritorna, followed by a stint as the assistant director to Enrico Fulchignoni on I Due Foscari. In 1942, Antonioni traveled to France to work with Marcel Carné on Les Visiteurs du Soir. Antonioni was soon called back to Italy for military service, where he managed to wrangle funding from the Luce Institute for Gente del Po, a documentary portrait of the impoverished lives of the fishermen along the Po River.

The Allied invasion of Italy brought film production there to an end for some time, forcing Antonioni to earn his living as a book translator; he also wrote prolifically for a number of magazines, including Film Rivista and Film d'Oggi. Additionally, he was commissioned by Luchino Visconti to write a pair of screenplays, Furore and The Trial of Maria Tarnowska, neither of which was ever produced. Finally, in 1948, Antonioni was able to return behind the camera, and over the course of the next two years he directed no less than six documentary shorts; among them, Nettezza Urbana, L'Amorosa Menzogna, and Superstizione hinted most strongly at the work still to come, their style of photography Spartan and unadorned, forgoing strong contrasts to focus on the middle range of gray tones.

After completing the short subject La Villa dei Mostri, Antonioni was able to secure financing for his 1950 feature debut, Cronaca di un Amore. Here he turned away from the neorealism so much in vogue, employing professional actors and focusing on interpersonal relationships instead of social criticism. More importantly, the film further developed his increasingly unique visual aesthetic, honing a rigorously disciplined brand of "anti-cinema," favoring long, deep-focus shots in opposition not only to the gritty, newsreel-like feel of the neorealists but even the montage dynamic perfected by Sergei Eisenstein. With Cronaca di un Amore, Antonioni first moved into a realm of film previously explored only by the likes of Carl Dreyer and Robert Bresson, a form of interior cinema concerned far less with the body than with the soul, and less by the actual arc of his plot than by the characters' reactions to it. Rather inexplicably, Cronaca di un Amore made next to no impact upon its original release, and Antonioni spent the remainder of the decade in relative obscurity.

In 1952, he collaborated with Federico Fellini on the script to Lo Sceicco Bianco, followed by a directing assignment helming an episode of the triptych I Vinti. Antonioni did not mount another feature-length project until 1953 with La Signora Senza Camelie, an essay on the world of show business which further developed the formula of internalized action. Yet again, the film received virtually no notice, and was barely even screened outside of Italy; Antonioni spent the next several years in relative seclusion, directing only a segment of L'Amore in Città as well as Uomini in Piú, a documentary commissioned by an international committee studying overpopulation.

Finally, in 1955 he was able to mount his third feature, Le Amiche. Though beset by troubles from the outset -- financing even ran out halfway through the production, suspending the shooting schedule for several months -- the completed film was Antonioni's most mature to date. Based loosely on the Cesare Pavese novella Tra Donne Sole, it further rejected all notions of traditional narrative and literary value, even garnering some degree of attention from the international cinema community. 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.

In 1960, Antonioni's masterpiece L'Avventura premiered at the Cannes Film Festival. His most extreme work to date, as a study of alienation among the bourgeoisie, it progressed at a snail's pace, its long, beautiful shots telling virtually no story whatsoever. Even the basic plot -- the search for a missing woman -- willfully disintegrated at the end, prompting a near-riot among Cannes viewers. Ultimately, L'Avventura won the festival's Grand Jury Prize, becoming a phenomenal success across the globe. Antonioni became a major figure in international cinema virtually overnight, and his lead actress, Monica Vitti -- a luminous cipher perfectly suited to her director's austere formalism -- emerged as a huge star.

La Notte -- the second film in the trilogy begun with L'Avventura -- appeared in 1961, exploring the existential ground of alienation, non-communication, and meaninglessness. A transitional work also starring Vitti as well as Marcello Mastroianni and Jeanne Moreau, La Notte experimented more freely with editing techniques, relying less on the long, expansive takes which defined Antonioni's earlier work. The 1962 release L'Eclisse reduced its plot structure to the barest minimum, replacing narrative with an acute psychological portrait of a woman (Vitti) who drifts from one romantic liaison into another. Il Deserto Rosso, his fourth and final film starring Vitti -- as well as his first color feature -- followed in 1964.

In 1966, Antonioni went to England to shoot Blow-Up, his most commercially successful effort. Set in the "Swinging London" scene of the mid-'60s, it starred David Hemmings as a fashion photographer who accidentally photographs a murder. The wide popularity of Blow-Up brought Antonioni to America, where in 1970 he made his lone U.S. feature, Zabriskie Point. Chung Kuo/Cina, a four-hour television documentary filmed in China and subsequently denounced by the nation's government, followed in 1972. The Passenger, a thriller shot in North Africa starring Jack Nicholson, appeared three years later, while Il Mistero di Oberwald did not bow until 1980.

With 1982's Identificazione di una Donna, Antonioni's career largely ground to a halt; a savage early review by New York Times critic Vincent Canby prompted the film's U.S. distributor to drop the film, and due to the loss of potential revenue, Antonioni was unable to realize several planned projects. A 1985 stroke left him partially paralyzed and unable to speak, but a decade later Antonioni returned to filmmaking with Par-Dela les Nuages (Beyond the Clouds), a feature co-directed by Wim Wenders.

It would be nearly another ten years before Antonioni stepped behind the camera again, but in 2004, at the age of 91, he involved himself with two new projects. The first film, Michelangelo Eye to Eye was a 35-minute documentary, while Eros featured multiple segments directed by such auteurs as Antonioni, Steven Soderbergh, and Wong Kar-Wai. In 1995, Antonioni received an honorary Lifetime Achievement Academy Award. He passed away at the age of 94 on July 30, 2007, in Rome. ~ Jason Ankeny, All Movie Guide
Wikipedia: Michelangelo Antonioni
Top
Home > Library > Miscellaneous > Wikipedia
Michelangelo Antonioni

Michelangelo Antonioni
Born September 29, 1912(1912-09-29)
Ferrara, Italy
Died July 30, 2007 (aged 94)
Rome, Italy
Years active 1942–2004
Spouse(s) Letizia Balboni (1942–1954)
Enrica Antonioni (1986–2007)

Michelangelo Antonioni, Cavaliere di Gran Croce OMRI[1] (29 September 1912 – 30 July 2007) was an Italian modernist film director.

Contents

Life

Michelangelo Antonioni was born into a well-to-do family of landowners in Ferrara, Emilia Romagna, in northern Italy. The director explained to Italian film critic Aldo Tassone:

My childhood was a happy one. My mother, Elisabetta Roncagli, was a warm and intelligent woman who had been a labourer in her youth. My father also was a good man. Born into a working-class family, he succeeded in obtaining a comfortable position through evening courses and hard work. My parents gave me free rein to do what I wanted: with my brother, we spent most of our time playing outside with friends. Curiously enough, our friends were invariably proletarian, and poor. The poor still existed at that time, you recognized them by their clothes. But even in the way they wore their clothes, there was a fantasy, a frankness that made me prefer them to boys of bourgeois families. I always had sympathy for young women of working-class families, even later when I attended university: they were more authentic and spontaneous.[2]

While still a child, Antonioni was fond of drawing and music. A precocious violinist, he gave his first concert at the age of nine. Although he abandoned the violin with the discovery of cinema in his teens, drawing would remain a lifelong passion. "I have never drawn, even as a child, either puppets or silhouettes but rather facades of houses and gates. One of my favourite games consisted of organising towns. Ignorant in architecture, I constructed buildings and streets crammed with little figures. I invented stories for them. These childhood happenings - I was eleven years old - were like little films." [3]

Upon graduation from the University of Bologna with a degree in economics, he started writing for the local Ferrara newspaper Il Corriere Padano in 1935 as a film journalist.

In 1940, Antonioni moved to Rome, where he worked for Cinema, the official Fascist film magazine edited by Vittorio Mussolini. However, Antonioni was fired a few months afterward. Later that year he enrolled at the Centro Sperimentale di Cinematografia to study film technique, but left it after three months. He was drafted into the army afterwards.

Antonioni died aged 94 on July 30, 2007 in Rome, the same day that another renowned film director, Ingmar Bergman, also died. Antonioni lay in state at City Hall in Rome where a large screen showed black-and-white footage of him among his film sets and behind-the-scenes. He was buried in his home town of Ferrara on August 2, 2007.

Career

First work in film

In 1942, Antonioni co-wrote Un pilota ritorna, together with Roberto Rossellini and worked as assistant director on Enrico Fulchignoni's I due Foscari. In 1943, Antonioni travelled to France to assist Marcel Carné on Les visiteurs du soir. Antonioni started shooting short films in the 1940s with Gente del Po, a story of poor fishermen of the Po valley on which he filmed in 1943, but the film stock was stuck in the East-Italian Fascist "Republic of Salo" when Italy was liberated and was not recovered and edited until 1947 (the complete footage had not been recovered ever since). These films were neorealist in style, being semi-documentary studies of the lives of ordinary people.[4]

However, Antonioni's first full-length feature film Cronaca di un amore (1950) broke away from neorealism by depicting the middle classes. He continued to do so in a series of other films : I vinti ("The Vanquished", 1952), a trio of stories, each set in a different country (France, Italy and England), about juvenile delinquency; La signora senza camelie (The Lady Without Camellias, 1953) about a young film star and her fall from grace; and Le amiche (The Girlfriends, 1955) about middle class women in Turin. Il grido (The Outcry, 1957) was a return to working class stories, depicting a factory worker and his daughter. Each of these stories is about social alienation.[4]

International recognition

In Le Amiche (1955), Antonioni experimented with a radical new style: instead of a conventional narrative, he presented a series of apparently disconnected events, and he used long takes as part of his film making style.[4] Antonioni returned to their use in L'avventura (1960), which became his first international success. At the Cannes Film Festival it received a mixture of cheers and boos,[5] but the film was popular in art house cinemas around the world. La notte (1961), starring Jeanne Moreau and Marcello Mastroianni, and L'eclisse (1962), starring Monica Vitti and Alain Delon, followed L'avventura. These three films are commonly referred to as a trilogy because they are stylistically similar and all concerned with the alienation of man in the modern world. His first color film, Il deserto rosso (Red Desert, 1964), deals with similar themes, and is sometimes considered the fourth film of the "trilogy".[citation needed]

Antonioni then signed a deal with producer Carlo Ponti that would allow artistic freedom on three films in English to be released by MGM. The first, Blowup (1966), set in Swinging London, was a major success. The script was loosely based on the short story The Devil's Drool (otherwise known as Blow Up) by Argentinian writer Julio Cortázar. Although it dealt with the challenging theme of the impossibility of objective standards and the ever-doubtable truth of memory, it was a successful and popular hit with audiences, no doubt helped by its sex scenes, which were explicit for the time. It starred David Hemmings and Vanessa Redgrave. The second film, Zabriskie Point (1970), was Antonioni's first set in America. It was much less successful, even though its soundtrack incorporated popular artists such as Pink Floyd (who wrote new music specifically for the film), the Grateful Dead, and the Rolling Stones. It depicted the counterculture movement, but was heavily criticized for the blank performances of its stars, neither of whom had acted before. The third, The Passenger (1975), starring Jack Nicholson and Maria Schneider, received critical praise, but also did poorly at the box office. It was out of circulation for many years, but was re-released for a limited theatrical run in October 2005 and has subsequently been released on DVD.

In 1972, in between Zabriskie Point and The Passenger, Antonioni was invited by the Mao government of the People's Republic of China to visit the country. He made the documentary Chung Kuo, Cina, but it was severely denounced by the Chinese authorities as "anti-Chinese" and "anti-communist".[6] The documentary had its first showing in China in November 25, 2004 in Beijing with a film festival hosted by the Beijing Film Academy to honor the works of Michelangelo Antonioni.[7]

Later career

In 1980, Antonioni made Il mistero di Oberwald (The Mystery of Oberwald), an experiment in the electronic treatment of color, recorded in video and then translated to film, featuring Monica Vitti once more. It is based on Jean Cocteau's story L'aigle à deux têtes (The Eagle With Two Heads). Identificazione di una donna (Identification of a Woman, 1982), filmed in Italy, deals one more time with the recursive subjects of his Italian trilogy. In 1985, Antonioni suffered a stroke, which left him partly paralyzed and unable to speak. However, he continued to make films, including Beyond the Clouds (1995), for which Wim Wenders filmed some scenes. As Wenders has explained, Antonioni rejected almost all the material filmed by Wenders during the editing, except for a few short interludes.[8] They shared the FIPRESCI Prize at the Venice Film Festival with Cyclo.

In 1996, he was awarded the Lifetime Achievement Academy Award. It was presented to him by Jack Nicholson. Months later, the statuette was stolen by burglars and had to be replaced. Previously, he had been nominated for Academy Awards for Best Director and Best Screenplay for Blowup. Antonioni's final film, made when he was in his 90s, was a segment of the anthology film Eros (2004), entitled "Il filo pericoloso delle cose" ("The Dangerous Thread of Things"). The short film's episodes are framed by dreamy paintings and the song "Michelangelo Antonioni", composed and sung by Caetano Veloso.[9] However, it was not well-received internationally; in America, for example, Roger Ebert claimed that it was neither erotic nor about eroticism.[10] The U.S. DVD release of the film includes another 2004 short film by Antonioni, Lo sguardo di Michelangelo (The Gaze of Michelangelo).

Reception

Film historian Virginia Wright Wexman describes Antonioni's perspective on the world as that of a "postreligious Marxist and existentialist intellectual."[11] In a speech at Cannes about L'Avventura, Antonioni said that in the modern age of reason and science, mankind still lives by "a rigid and stereotyped morality which all of us recognize as such and yet sustain out of cowardice and sheer laziness". He said his films explore the paradox that "we have examined those moral attitudes very carefully, we have dissected them and analyzed them to the point of exhaustion. We have been capable of all this, but we have not been capable of finding new ones."[citation needed] Nine years later he expressed a similar attitude in an interview, saying that he loathed the word 'morality': "When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them." [12]

One of the recurring themes in Antonioni's films is characters who suffer from ennui and whose lives are empty and purposeless aside from the gratification of pleasure or the pursuit of material wealth. Film historian David Bordwell writes that in his films, "Vacations, parties and artistic pursuits are vain efforts to conceal the characters' lack of purpose and emotion. Sexuality is reduced to casual seduction, enterprise to the pursuit of wealth at any cost."[13] Antonioni's films tend to have spare plots and dialogue, and much of the screen time is spent lingering on certain settings, such as the seven-minute continuous take in The Passenger, or the scene in L'Eclisse in which Monica Vitti stares curiously at electrical posts accompanied by ambient sounds of wires clanking. Virginia Wright Wexman summarizes his style in the following terms: "The camera is placed at a medium distance more often than close in, frequently moving slowly; the shots are permitted to extend uninterrupted by cutting. Thus each image is more complex, containing more information than it would in a style in which a smaller area is framed ... In Antonioni's work we must regard his images at length; he forces our full attention by continuing the shot long after others would cut away."[11] Antonioni is also noted for exploiting colour as a significant expressive element of his cinematic style, especially in Il deserto rosso, his first colour film.[who?]

Bordwell explains that Antonioni's films were extremely influential on subsequent art films: "More than any other director, he encouraged filmmakers to explore elliptical and open-ended narrative".[13] Film director Akira Kurosawa considered Antonioni one of the most interesting filmmakers.[14] Stanley Kubrick listed La Notte as one of his ten favorite films in a 1963 Poll.[15] Andrei Tarkovsky also listed Antonioni as one of his favorite filmmakers.[16] Miklós Jancsó considers Antonioni as his master. [17]

Antonioni's spare style and purposeless characters, however, have not received universal acclaim. Ingmar Bergman stated in 2002 that he admired some of Antonioni's films for their detached and sometimes dreamlike quality. While he considered Blowup and La notte masterpieces, he called the other films boring and noted that he had never understood why Antonioni was held in such esteem.[18] Orson Welles regretted the Italian director's use of the long take: "I don't like to dwell on things. It's one of the reasons I'm so bored with Antonioni - the belief that, because a shot is good, it's going to get better if you keep looking at it. He gives you a full shot of somebody walking down a road. And you think, 'Well, he's not going to carry that woman all the way up that road.' But he does. And then she leaves and you go on looking at the road after she's gone."[19]

Filmography

Feature films

Short films

  • Gente del Po (People of the Po, 10 min, shot in 1943, released in 1947)
  • N.U. (Nettezza urbana) (Dustmen, 11 min, 1948)
  • Oltre l'oblio (1948)
  • Roma-Montevideo (1948)
  • L'amorosa menzogna (Loving Lie, 10 min, 1949)
  • Sette cani e un vestito (Seven Reeds, One Suit, 10 min, 1949)
  • Bomarzo (1949)
  • Ragazze in bianco (Girls in white, 1949)
  • Superstizione (Superstition, 9 min, 1949)
  • La villa dei mostri (The House of Monsters, 10 min, 1950)
  • La funivia del Faloria (The Funicular of Mount Faloria, 10 min, 1950)
  • Inserto girato a Lisca Bianca (TV, 8 min, 1983)
  • Kumbha Mela (18 min, 1989)
  • Noto, Mandorli, Vulcano, Stromboli, Carnevale (Volcanoes and Carnival, 8 min, 1993)
  • Sicilia (9 min, 1997)
  • Lo sguardo di Michelangelo (The Gaze of Michelangelo, 15 min, 2004)

Episodes in omnibus films

  • Tentato suicido ("When Love Fails", episode in L'amore in città, 1953)
  • Il provino (segment in The Three Faces of a Woman - I tre volti, 1965)
  • Roma (segment in 12 registi per 12 città, promotional film for Soccer World Championship, 1989)
  • Il filo pericoloso delle cose ("The Dangerous Thread of Things", segment in Eros, 2004)

Notes

  1. ^ Honour at Quirinale website
  2. ^ Tassone, 13
  3. ^ Tassone, 14
  4. ^ a b c Cook, 535
  5. ^ Penelope Houston, "Obituary: Michelangelo Antonioni", The Guardian (31 July 2007). Retrieved on 21-12-08.
  6. ^ Eco and Leefeldt, 8-12
  7. ^ Chung Kuo
  8. ^ Wenders, 79
  9. ^ Ian Johnston, "We’re Not Happy and We Never Will Be: On Cronaca di un amore", Bright Lights Film Journal (August 2006). Retrieved on 21-12-08.
  10. ^ Ebert, Eros, Chicago Sun-Times (April 8, 2005). Retrieved on 21-12-08.
  11. ^ a b Wexman, 312.
  12. ^ Interview with Antonioni conducted in Rome, 29 July 1969. Cf. Samuels, 15-32.
  13. ^ a b Bordwell and Thompson, 427-428.
  14. ^ Kurosawa, Akira: Something Like an Autobiography, p.242. Alfred A. Knopf, Inc., 1982.
  15. ^ Ciment, 34.
  16. ^ Tarkovsky's Choice
  17. ^ [Jancsó, Miklós: A Mester lebegve érkezik (Michelangelo Antonioni) in: Filmvilág 2007/10.]
  18. ^ Jan Aghed, "När Bergman går på bio", Sydsvenska Dagbladet, 12 May 2002.
  19. ^ Bogdanovich, 103-104

References

Further reading

General

  • Antonioni, Michelangelo. Michelangelo Antonioni: An Introduction. Trans. by Scott Sullivan. New York: Simon and Schuster, 1963.
  • Arrowsmith, William and Ted Perry, ed. Antonioni: the poet of images. New York: Oxford University Press, 1995.
  • Brunette, Peter. The films of Michelangelo Antonioni. New York: Cambridge University Press, 1998.
  • Chatman, Seymour. Antonioni or the Surface of the World. Berkeley : University of California Press, 1985.
  • Lyons, Robert Joseph. Michelangelo Antonioni's Neo-Realism: A World View. Diss. Bowling Green State University, 1973.

Documentaries on Antonioni

  • Antonioni, Enrica. Fare un film per me e viveri (Making a Film for Me is to Live), 1996. (52')
  • Di Carlo, Carlo. Antonioni su Antonioni (Antonioni on Antonioni), 2008. (55')
  • —. Antonioni: Lo sguardo che cambio il cinema (Antonioni: the Gaze that Changed Cinema), 2001. (60')
  • Labarthe, André S. L'ultima sequenza di Professione: Reporter (The Last Sequence of The Passenger), 1974. (12')
  • Miccichè, Lino. Antonioni visto da Antonioni (Antonioni Seen by Antonioni), 1978. (28')

External links

Search Wikiquote Wikiquote has a collection of quotations related to: Michelangelo Antonioni
v • d • e
Films directed by Michelangelo Antonioni
1950s
Cronaca di un amore (1950) • I vinti (1952) • La signora senza camelie (1953) • Le amiche (1955) • Il grido (1957)
1960s
L'avventura (1960) • La notte (1961) • L'eclisse (1962) • Red Desert (1964) • Blowup (1966)
1970s
Zabriskie Point (1970) • Chung Kuo, Cina (1972) • The Passenger (1975)
1980s
1990s
Shorts
Tentato suicido (1953) • Il provino (1965) • Il filo pericoloso delle cose (2004)

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)

 
 
Learn More
Alberto Spagnoli (Cinematographer, Actor, Adventure/Drama)
Lea Massari (Actor, Writer, Drama)
Tonino Guerra (Writer, Director, Actor, Drama)

What was blown up in the Michelangelo Antonioni movie Blowup? Read answer...
Where was Michelangelo from? Read answer...
Who is Michelangelo? Read answer...

Help us answer these
Who composed the guitar music at the end of Michelangelo Antonioni's The Passenger?
Information about Michelangelo?
Who does not like Michelangelo?

Post a question - any question - to the WikiAnswers community:

 

Copyrights:

Britannica Concise Encyclopedia. Britannica Concise Encyclopedia. © 2006 Encyclopædia Britannica, Inc. All rights reserved.  Read more
Biography. © 2006 through a partnership of Answers Corporation. All rights reserved.  Read more
Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/.  Read more
Director. Copyright © 2009 All Media Guide, LLC. All rights reserved.  Read more
Wikipedia. This article is licensed under the Creative Commons Attribution/Share-Alike License. It uses material from the Wikipedia article "Michelangelo Antonioni".  Read more

Related answers
» More
 
Answer these
» More

Mentioned in

» More» More