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Dissertations / Theses on the topic 'Antonioni, Michelangelo'

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Published: 4 June 2021
Last updated: 30 January 2023

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1

Matos, Yanet Aguilera Viruez Franklin de. "A crônica visual de Michelangelo Antonioni." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-21112007-150656/.

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A análise procura entender a inversão que Antonioni realiza na relação entre imagem e texto no cinema. A ficção já não é suficiente para fazer uma abordagem efetivamente política do mundo contemporâneo. Apenas a imagem polissêmica é capaz de criar uma espécie de \"dês-enredo\" que, ao não se deixar reduzir a um sentido único, traz a luz outra dimensão da relação entre figura e fundo do quadro cinematográfico.<br>This study attempts to understand the inversion of what Antonioni makes in the relation between image and text in the cinema. The fiction is no longer enough to approach politically th
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2

Gatt-Corona, Luis Ernesto. "Existentialism in the cinema of Michelangelo Antonioni." Thesis, University of Reading, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395178.

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This thesis discusses the scope for philosophy in and about film. It applies philosophical analysis to both the form and the content of Antonioni's films, and is thus both a philosophical approach to Antonioni's cinema as well as an exploration of his philosophical thought. The first part of the thesis reviews worthwhile discussions that are relevant to the complex relationship between film and philosophy. It also assesses the way in which the trend of philosophical thought known as existentialism fits into this relationship. General notions about existentialism are thus reviewed, as well as t
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3

Kaiser, Tina Hedwig. "Flaneure im Film : La notte und L'eclisse von Michelangelo Antonioni /." Marburg : Tectum-Verl, 2007. http://www.gbv.de/dms/weimar/toc/548703345_toc.pdf.

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4

Kaiser, Tina Hedwig. "Flaneure im Film La notte und L'eclisse von Michelangelo Antonioni." Marburg Tectum-Verl, 2001. http://deposit.d-nb.de/cgi-bin/dokserv?id=3020052&prov=M&dok_var=1&dok_ext=htm.

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5

Nardelli, Matilde. "Apprehensions of time : Michelangelo Antonioni and experimental cinema, 1960-1975." Thesis, University College London (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427823.

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6

Buyer, Véronique. "Le Mur comme catégorie esthétique centrale dans la création cinématographique de Michelangelo Antonioni (et quelques liens transfilmiques)." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080070.

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Au-delà de l'importance de l'espace dans l’œuvre de Michelangelo Antonioni, considérer le mur permet de mettre en évidence le rapport entre le corps sensible des personnages et leur environnement à partir de cet élément à échelle humaine et de découvrir que le mur apparaît également dans des configurations qui ne font plus appel à la notion de volume, mais à celle, métacinématographique, d'écran. En examinant les différents aspects que le terme « mur » recouvre dans l’œuvre, mon propos s'attache à démontrer que si le mur devient catégorie esthétique c'est par son omniprésence à l'écran mais au
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7

Ericsson, Calina. "Från svartvit till färg : en studie av färg i Michelangelo Antonionis film Den röda öknen." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-27017.

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Michelangelo Antonioni (1912-2007) belonged to a generation of filmmakers that breathed new life into cinematic expression in the annals of modern-day European film history. By employing his background as a documentary filmmaker, Antonioni used these skills to help establish his own particular style. There was a distinct evolution of style which progressed during his triology L´Avventura, La Notte and L´Eclisse, 1959-1962. This theises presents a comperative study between his earlier films in black and white and his first color film - Il deserto roso, from 1964. By observing color in relation
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8

Droin, Nicolas. "Paysage et dépaysement dans l’œuvre de Michelangelo Antonioni : de "Blow Up" à "Identification d’une femme"." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100175/document.

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L’œuvre d’Antonioni constitue un champ privilégié pour initier une étude du paysage dans l’art cinématographique. Notre étude se focalise sur le dépaysement cinématographique d’Antonioni, de Blow up (1966) à son retour en Italie avec Identification d’une femme (1982). Notre étude vise à marquer l’importance d’une conception mouvante et cinéplastique du paysage, intégrant la question du montage, du mouvement (de l’image et dans l’image), pour dégager les forces rythmiques, métamorphiques et plastiques de l’image-paysage au cinéma. A partir de ces forces, nous souhaitons ouvrir la question du pa
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9

Maunier, Françoise. "La Figuration du sujet dans le cinéma moderne : Lectures de Michelangelo Antonioni et de Wim Wenders." Aix-Marseille 1, 1994. http://www.theses.fr/1994AIX10022.

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Il s'agit d'interroger la facon dont le cinema moderne travaille dans son propre champ une des questions qui traverse l'episteme contemporaine depuis freud, la question du sujet et qui a fait l'objet de remises en cause et de deplacements de perspectives, a partir de la prise en compte de l'inconscient et de l'impense. La recherche sur les modalites figuratives specifiques concernant cette question dans le cinema s'est organisee autour de la lecture de deux cycles, celui de michelangelo antonioni que l'on a appele le "cycle vitti" et qui regroupe : l'avventura 1959, la notte 1961, l'eclisse 19
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10

Sattin, Marcio Luis. "Imagem da imagem do mundo: cinema e filosofia em Michelangelo Antonioni, Howard Hawks e Jia Zhang Ke." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-15082018-123122/.

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Este trabalho tem por objetivo examinar algumas questões relativas à noção de imagem cinematográfica. O exame não pode, nem será, exaustivo, mas esperase que ao final um conjunto de aspectos ligados entre si se organize em torno de alguns eixos: que relações podem se estabelecer entre um discurso visual, como é o cinema, e o mundo; de que maneira o arranjo das partes deste discurso visual facilita, compromete ou abandona tais relações; que tipo(s) de gramática rege(m) este arranjo, já que o discurso cinematográfico se articula necessariamente como linguagem; na construção e na concatenação das
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11

Law, Yuk-wa. "The poetics of absence a study of Antonioni and Wenders /." Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B42577093.

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12

Ryneczko, Christophe. "Le Grand Yaka : suivi de FerronAntonioni : La nuitLa notte." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99596.

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Isolation, death, rebirth: the rites of passage experienced by the main characters in La nuit (Ferron), La notte (Antonioni) and Le Grand Yaka take place in the course of the night, which prompts the search for their own identity. "Tell me about your nights, and I will tell you who you are" could be the motto of Francois, Lidia, Giovanni and Lepetit. Whether in the realm of dreams or reality, these three stories depict a universe devoid of humanity, where lost souls try to surmount crises and seek truth in their nightly adventures. Gradually, the night---a world of infinite possibilities---wil
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13

Wang, Chunchun. "La Traversée vers la postmodernité : la transformation de l’Italie à travers le cinéma de Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini (1957-1978)." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080020.

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La présente thèse étudie la transformation de l’Italie vers la postmodernité (1957-1978) à travers le cinéma de trois auteurs : Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini. Elle explore l’historicité du cinéma, en interrogeant la manière par laquelle le septième art constitue une mise en forme et une écriture de l’histoire. Dans la convergence de deux histoires, celle humaine et celle du cinéma, elle met en récit l’expérience de la transformation sociétale et artistique. En dernière analyse, il est question d’étudier le cas italien comme un paradigme. En réactualisant les p
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14

Reid, David. "'Just looking' : gazing at the male gaze; the representation of women in the films of Michelangelo Antonioni and Rainer Werner Fassbinder, and in the photography of Jeff Wall and Thomas Struth." Thesis, University of Derby, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322598.

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15

Simond, Clotilde. "L' esthétique à l'épreuve de la schizophrénie." Paris 3, 2001. http://www.theses.fr/2001PA030079.

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16

Moure, José. "Du vide au cinéma." Paris 1, 1995. http://www.theses.fr/1995PA010590.

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Au fil d'un itinéraire autour du cinéma "classique", en amont et en marge du cinéma moderne, puis au cœur des cinémas de la modernité, cette étude questionne le langage cinématographique dans ses rapports ambigus (rapports de refoulement, de tentation puis de fascination) à la vacuité. Elle s'attache à mettre à jour non seulement les différentes conditions d'émergence, modalités de manifestation et formes particulières du vide cinématographique, mais aussi les principales stratégies de représentation qui, à des degrés divers et avec des partis pris différents, ont conduit le cinéma à se confro
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17

Böhm, Michal. "Historické kořeny minimalistického filmu." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-262707.

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Mimalism represents a film style which still partially predominates on the contemporary art festivals although it reached its peak during in the beginning of the 21. century. Minimalism is a style which supresses the pallete of formalistic tools, expressive elements and typical narative structures and drama. It also works extensively with time and the depiction of everyday. Minimalistic cinema experience thus stimulates the audience to make their own interpretations of the story and the form altogether. The aim of this work is to analyze those historical cinema tendencies that bear most resemb
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18

Orard, Catherine. "De l'inachevé au cinéma." Paris 1, 1998. http://www.theses.fr/1998PA010516.

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Une premiere partie philosophique énonce les présupposés théoriques de la thèse, méditation sur les ambitions de la recherche et sur ses limites ; réflexion sur les notions d'oeuvre d'art et de création, de fini et de non-fini, de totalité et de fragmentation, de perfection et d'incomplétude, de désir. . . En référence aux propos de T. W. Adorna M. Blanchot, W. Jankelevitch. . . D'où vient la valorisisation de l'achèvement, de l'accomplissement ? Que recouvre le besoin de perfection ? L'inachèvement n'est-il pas une réalité inhérente à l'acte même de créer, un mode d'existence de la création ?
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19

Tobe, Renée. "Mimesis and the dialogue between architecture and film, with particular reference to Joseph Losey's 'The Servant' and Michelangelo Antonioni's 'Blow-up'." Thesis, University of Cambridge, 2003. https://www.repository.cam.ac.uk/handle/1810/284026.

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20

Grilli, Renata. "Il viaggio nel cinema di Michelangelo Antonioni." 2006. http://www.library.wisc.edu/databases/connect/dissertations.html.

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21

Atala, Gatica Rodrigo, Cristian Babe, Fernando Estevez, Esteban Larraín, Olga Madariaga, and Verónica Marinao. "La contemporaneidad en el cine de Michelangelo Antonioni: su autoconciencia crítica." Tesis, 1996. http://repositorio.uchile.cl/handle/2250/140722.

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22

Duguay, Jonathan. "Penser les lieux du capital : architecture moderne, périurbain et espace industriel dans le cinéma de Michelangelo Antonioni." Thèse, 2018. http://hdl.handle.net/1866/22056.

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23

Chuang, Alice. ""In search of lost time" La notte and the time-image /." Diss., 2006. http://etd.library.vanderbilt.edu/ETD-db/available/etd-06102006-151253/.

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24

Sangalli, Yuri Michele. "Space and time of industry in Italian cinema and literature, 1954--1964 : Michelangelo Antonioni, Pier Paolo Pasolini and Italo Calvino /." 2006. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=442402&T=F.

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25

Jacova, Giorgio Alessandro. "Aspetti interpretativi della crisi del rapporto con la realtà nel romanzo di Alberto Moravia, La noia, e nei film di Michelangelo Antonioni, L’Avventura, La Notte, L’Eclisse." Thesis, 1997. http://hdl.handle.net/2429/7892.

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In this work my objective is to examine selected aspects of the theme of the "crisis of the relationship with reality" in Alberto Moravia's novel La noia (The empty canvas, 1961) and in Michelangelo Antonioni's films L'avventura (1960), La notte (1961) and L'eclisse (1962). The notion of crisis pertains to the concept of "alienation" in the negative sense of "estrangement of man" and "disease of feelings". The choice of this subject is motivated by the observation that the history of the concept of alienation, in the sense of unintelligibility and absurdity of reality, parallels, as it
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26

Hsu, Shih-ni Shirley, and 許詩妮. "The Camera and the Eye: A Benjaminian Analysis of Michelangelo Antonioni's Blow Up." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/49621110883580133627.

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碩士<br>東吳大學<br>英文學系<br>97<br>The use of the camera has changed our ways of seeing mainly because the function of a camera—in a general understanding—is to keep record of whatever it “sees” realistically and objectively and to represent the captured images in photography and/or film. However, photography and film do not only represent the object, they sometimes amaze us by presenting the record in too much detail that “the familiar” is defamiliarized. In other words, the object is detached from its original visual context when captured and represented in photography and film. This thesis seeks
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