Michelangelo Antonioni, The Architecture of Vision (selections) March 15-23. SPRING BREAK Mar 24. Week 8 Pier Paolo Pasolini, Accattone (1961) John David Rhodes, “Scandalous Desacration. Accattone against the Neorealist City” PPP, “The Written Language of Reality” Michel de Certeau, “Walking in the City.”.
mëkālän´jālō äntōnyô´nē [key], 1912–2007, Italian film director and scriptwriter, b. Ferrara, Italy. In the 1940s he made documentaries that contributed to the development of Italian neorealism. He continued to occasionally make documentaries throughout his life, e.g., the controversial Chung Kuo—Cina (1973), vignettes of early 1970s China. 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.
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).
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For a thorough discussion of the use of veiling in connection with femininity, see Mary Ann Doane’s chapter “Veiling over Desire: Close-ups of the Woman” in her book: Femmes Fatales: Feminisms, Film Theory, and Psychoanalysis (London: Routledge, 1991), 44–75.Google Scholar
This handling of Silvia in this film reminds us of Laura Mulvey’s discussion of women’s representation in traditional films in her “Visual Pleasure and Narrative Cinema,” in Visual and Other Pleasures (Bloomington, IN: Indiana University Press, 1984), 14–26.Google Scholar
Teresa De Lauretis, “Fellini 9 ?,” in Technologies of Gender, Essays on Theory, Film, and Fiction (Bloomington, IN: Indiana University Press, 1987), 95–106.Google Scholar
See “The Long Interview, Tullio Kezich and Federico Fellini” in Federico Fellini’s New Masterpiece, Juliet of the Spirits, ed. T. Kezich (New York: Ballantine Books, 1965), 17–64.Google Scholar
As clearly analyzed by Paola Melchiori in her “Women’s Cinema: A Look at Female Identity,” in Off-Screen: Women and Film in Italy, ed. Giuliana Bruno and Maria Nadotti (London: Routledge, 1988), 31.Google Scholar
In M. Cottino-Jones, ed., Michelangelo Antonioni: The Architecture of Vision: Writings & Interviews on Cinema by Michelangelo Antonioni (Chicago: University of Chicago Press, 2007), 270.Google Scholar
Carlo Biarese and Aldo Tassone, I film di Michelangelo Antonioni (Roma, Italy: Gremese, 1985), 45.Google Scholar
Judith Mayne, The Woman at the Keyhole: Feminism and Women’s Cinema (Bloomington, IN: Indiana University Press, 1982), 17.Google Scholar
So that, in De Lauretis’s words, “the look of the camera, the look of the spectator and the look of each character within the film intersect in a complex system which structures vision and meaning,” and in so doing “governs its representation of woman.” De Lauretis, AU ce Doesn’t, Feminism, Semiotics, Cinema (Bloomington, IN: Indiana University Press, 1984), 138.Google Scholar
For a more exhaustive consideration on Antonioni’s filmmaking activity, see the American edition of the collection of critical essays edited by M. Cottino-Jones: Michelangelo Antonioni: The Architecture of Vision: Writings & Interviews on Cinema by Michelangelo Antonioni (Chicago: University of Chicago Press, 2007).Google Scholar
For a more thorough discussion of this topic, see Enrico Giacovelli’s La commedia all’italiana (Rome, Italy: Gremese, 1990)Google Scholar
Jean A. Gili’s Arrivano I mostri: Ivolti della commedia italiana (Bologna, Italy: Cappelli, 1980).Google Scholar
As Ruby Rich has suggested in his article “In the Name of Feminist Film Criticism,” in Issues in Feminist Film Criticism, ed. P. Erens (Bloomington, IN: Indiana University Press, 1990), 268–87.Google Scholar