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Journal articles on the topic 'Antonioni, Michelangelo'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Di Bianco, Laura. "Michelangelo Antonioni: Interviews." Journal of Modern Italian Studies 14, no. 3 (2009): 380–81. http://dx.doi.org/10.1080/13545710903033578.

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2

Sáez-González, Jesús Miguel. "Lo sguardo di Michelangelo (Michelangelo Antonioni)." Vivat Academia, no. 91 (December 15, 2007): 23. http://dx.doi.org/10.15178/va.2007.91.23.

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3

Tarantino, Michael. "Michelangelo Antonioni: Three Landscapes." Afterall: A Journal of Art, Context and Enquiry 3 (January 2001): 25–33. http://dx.doi.org/10.1086/aft.3.20711418.

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4

Ijuin, Takayuki. "Michelangelo Antonioni’s Blow-Up as Abstract Art Theory." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 59. http://dx.doi.org/10.25038/am.v0i19.307.

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As is well known, Blow-Up (1966) directed by Michelangelo Antonioni is based on Julio Cortázar’s short story; “Las babas del diablo” (1959). In literary terms, it is very difficult to find similarities between both works, except in their outlines. Many critics, therefore, thought Blow-Up was Antonioni’s own film with no special connection with “Las babas del diablo”. But we should focus on the common outlines of the two. Both deal with ‘vision’. The change of seeing through a viewfinder to seeing through a photographic print gives the protagonists a daydream-like experience.Cortázar was not on

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5

Longhi, Ludovico, and Valerio Carando. "Antonioni reinterpreta “lo insólito” de Cortázar: investigación fotoquímica, mecanográfica y cinematográfica = Antonioni reinterprets "the incredible" by Cortázar: photochemical, mechanical and cinematographic research." Estudios Humanísticos. Filología, no. 38 (December 20, 2016): 117. http://dx.doi.org/10.18002/ehf.v0i38.1439.

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<p>Michelangelo Antonioni (Blow-Up, 1966) traduce las formas literarias de Julio Cortázar (Las babas del<br />diablo, 1959), extremadamente visionarias, en una interrogación sobre las posibilidades epistemológicas<br />del lenguaje cinematográfico.</p><p>Michelangelo Antonioni (Blow-Up, 1966) translated Julio Cortázar’s literary and visionary forms (Las<br />babas del Diablo, 1959) in a quest on the epistemological possibilities of movie language.<br /><br /></p>

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6

Furtado, Cláudio. "Arquitetura em Antonioni." Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP 22, no. 38 (2015): 158. http://dx.doi.org/10.11606/issn.2317-2762.v22i38p158-170.

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A análise aproxima a filmografia de Michelangelo Antonioni, principalmente os filmes Blow-up e Profissão repórter, com a arquitetura contemporânea através do pensamento do diretor e dos arquitetos do Team 10. O tratamento cromático dos filmes, assim como o despregamento das imagens com o enredo são similares às posturas do grupo de arquitetos que procuram uma nova linguagem para arquitetura. O estudo visa ampliar a abrangência da visão do arquiteto através da apropriação de processos de produção cultural de outras áreas.

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7

Tomasulo, Frank. "A Review of “Michelangelo Red Antonioni Blue”." Quarterly Review of Film and Video 29, no. 5 (2012): 464–71. http://dx.doi.org/10.1080/10509208.2012.703922.

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8

Baso, Giulia. "Michelangelo Antonioni and Atom Egoyan: Contaminating identities." Journal of Italian Cinema & Media Studies 4, no. 1 (2016): 51–62. http://dx.doi.org/10.1386/jicms.4.1.51_1.

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9

Madrid del Campo, Lara. "La naturaleza muerta y el misterio en Blow up de Michelangelo Antonioni." ACTIO Journal of Technology in Design, Film Arts and Visual Communication, no. 2 (December 21, 2018): 102–13. http://dx.doi.org/10.15446/actio.n2.95998.

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Se presenta un análisis textual de la naturaleza muerta como concepto metafísico en la película Blow up (1968) de Michelangelo Antonioni. A través del análisis se estudiarán las correspondencias visuales entre la realidad y la metafísica, concluyendo en sus consecuencias discursivas.

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10

Milerius, Nerijus. "NUOBODULYS IR PRIEVARTA: ANTONIONI „FOTOPADIDINIMO“ ATVEJIS." Problemos 92, no. 92 (2017): 143. http://dx.doi.org/10.15388/problemos.2017.92.10910.

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Tęsiant kinematografinės prievartos tyrinėjimus, straipsnyje nagrinėjamas vienas ryškiausių kino istorijoje metakino pavyzdžių – Michelangelo Antonioni „Fotopadidinimas“ („Blow up“). Pirma, atskleidžiant, kokiu būdu „Fotopadidinimas“ aprėpia ne vien fotografijos istorijos, bet ir pamatinius ontologijos klausimus, sugrįžtama ne vien prie vieno iš fotografijos pradininkų F. Talboto, bet ir prie filosofijos klasiko Platono nuostatų. Antra, pasitelkiant R. Barthes’o nuostatas, tyrinėjami mados fotografijos filosofiniai aspektai. Trečia, siekiant išryškinti bendrą „Fotopadidinimo“ kontekstą, aptari

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11

Benatti, Andre Rezende, and Rute Pereira da Silva. "Real ou ficção: uma questão fotográfica no conto Las babas del diablo, de Julio Cortázar e na obra fílmica Blow-Up, de Michelangelo Antonioni." Literatura e Autoritarismo, no. 26 (October 11, 2022): 43–54. http://dx.doi.org/10.5902/1679849x69717.

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O propósito do trabalho é realizar uma análise do papel da fotografia no conto Las babas del diablo, de Julio Cortázar e da obra fílmica Blow-Up, de Michelangelo Antonioni, com base nos pressupostos de Roland Barthes sobre o processo fotográfico. A narrativa Las babas del diablo foi publicada pela primeira vez em 1959, em uma coletânea de contos intitulada Las armas secretas, ela nos conta a história do fotógrafo e tradutor, Michel, que ao ampliar algumas fotos ele percebe, nas imagens, que as fotos são provas de um crime. Inspirado nessa trama, em dezembro de 1966, Michelangelo Antonioni, tra

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12

Chatman, Seymour. "Review: The Films of Michelangelo Antonioni by Peter Brunette." Film Quarterly 53, no. 1 (1999): 50–51. http://dx.doi.org/10.2307/3697218.

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13

Puntel Mostafa, Solange, and Igor Soares Amorim. "Antonioni e as figuras do tempo." Logeion: Filosofia da Informação 5, no. 1 (2018): 102–19. http://dx.doi.org/10.21728/logeion.2018v5n1.p102-119.

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Explora as noções deleuzinas sobre o cinema e problematiza elementos relacionados a indexação de filmes. Aprofunda as questões cinematográficas trabalhadas por Deleuze, que concebe dois principais regimes de imagens, compreendidos no cinema clássico e no cinema moderno. O cinema clássico é fundado na imagem-movimento, a qual submete o tempo à ação, já o cinema moderno, caracteriza-se pela imagem-tempo, a qual desvincula tempo e movimento e revela situações óticas e sonoras puras. Analisa o problema do tempo em três filmes dirigidos por Michelangelo Antonini, conhecidos como trilogia da incomun

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14

Mattia, Giuseppe. "All’origine della sceneggiatura. Verso una critica genetica del film L’eclisse (1962)." Acta Universitatis Lodziensis. Folia Litteraria Polonica 64, no. 1 (2022): 595–606. http://dx.doi.org/10.18778/1505-9057.64.22.

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La presente proposta – inserita nel quadro della ricerca di dottorato intitolata Tonino Guerra sceneggiatore tra anni Cinquanta e Sessanta. Il lavoro con Antonioni e Rosi tra storia e inchiesta – si propone di illustrare la ricognizione archivistica condotta su alcune fonti di prima mano, relative al film L’eclisse (1962) di Michelangelo Antonioni. Questi materiali preparatori inediti gettano luce su modelli sia interpretativi sia metodologici legati alla genetica testuale. In un’ottica storico-filologica, l’osservazione del metodo di lavoro di Guerra e Antonioni consente di ampliare la portat

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15

Rabissi, Francesco. "The body of Milan in Gabriele Basilico and Michelangelo Antonioni." Journal of Architecture 24, no. 8 (2019): 1084–95. http://dx.doi.org/10.1080/13602365.2019.1708777.

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16

Di Méo, Guy. "Espace acteur et « drame paysager » : le cinéma de Michelangelo Antonioni." Annales de géographie 695-696, no. 1 (2014): 605. http://dx.doi.org/10.3917/ag.695.0605.

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17

Luersen, Eduardo Harry. "Sobre a impureza artística: aproximações entre cinema, música e pintura a partir da cena final de Zabriskie Point." Rumores 6, no. 11 (2012): 200. http://dx.doi.org/10.11606/issn.1982-677x.rum.2012.51297.

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Neste artigo investigamos os diálogos transversais entre formas de arte distintas a partir da produção cinematográfica, mais especificamente do filme <em>Zabriskie Point</em>, do diretor Michelangelo Antonioni. Procuramos entender como o cineasta pode obter repertório a partir do imaginário das artes visuais e como pode fazer uso e se apropriar de linguagens distintas na construção de sua própria forma de expressar um olhar sobre o mundo.

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18

Besnard-Scott, Laurence. "Adaptation, translation and indeterminacy in Michelangelo Antonioni’s Blow-Up: Towards a third space of representation." Journal of Adaptation in Film & Performance 13, no. 1 (2020): 7–22. http://dx.doi.org/10.1386/jafp_00009_1.

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Michelangelo Antonioni’s films are rarely associated with translation and adaptation. Yet, his work consistently explores the very essence of images, their ambiguous relation to reality and the deceptive nature of perception. It is a cinema of uncertainty par excellence, thus of translation; at least, a conception of translation (and adaptation) that does not solely rely on principles of faithfulness, transparency and systematic semiotics. This article thus proposes to look at one of Antonioni’s most compelling films, Blow-Up, through the prism of indeterminacy. Drawing upon Gilles Deleuze’s t

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Mostafa, Solange Puntel, Igor Soares Amorim, and Deise Maria Antonio Sabbag. "Eros e a Ciência da Informação." Em Questão 24, no. 1 (2018): 117. http://dx.doi.org/10.19132/1808-5245241.117-144.

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Experimentação sobre o deslizamento de planos entre filosofia, Ciência da Informação e Artes por meio da trilogia da incomunicabilidade formada pelos filmes dirigidos por Michelangelo Antonioni, com o objetivo de delinear e experimentar maneiras de indexar fora dos quadros do estruturalismo da Ciência da Informação. Faz-se uso do conceito filosófico de Linguagem Documentária Menor, ao apresentar novos termos para a indexação dos filmes mencionados, baseados na filosofia do cinema de Gilles Deleuze, especificando o estruturalismo da Ciência da Informação.

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20

MELENDO CRUZ, Ana. "¿Está dirigido el 'Arte Nuevo' a una minoría especialmente dotada? El caso de Michelangelo Antonioni." Fotocinema. Revista científica de cine y fotografía, no. 1 (September 30, 2010): 89–100. http://dx.doi.org/10.24310/fotocinema.2010.v0i1.5852.

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El artículo trata de reflexionar sobre aquellos cambios que se producen en la recepción de los filmes de Michelangelo Antonioni por parte de un espectador al que, como receptor de películas hollywoodienses, principalmente, se le exige con este otro cine, calificado de elitista, una mutación que no siempre está dispuesto a realizar. Y es que debido a las complejas estructuras formales que configuran los filmes antonionianos, el espectador de los mismos se sabe excluido del esquema sobre el que se fundamentaba la representación clásica, subordinada casi en su totalidad a la causalidad narrativa.

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21

Rey, Endika. "Acercamiento a Lucía Bosé a través de las obras de Michelangelo Antonioni y Juan Antonio Bardem." Quaderns de Cine, no. 8 (2013): 73–80. http://dx.doi.org/10.14198/qdcine.2013.8.09.

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22

Vauday, Patrick. "Le corps et l'épreuve du réel dans le cinéma de Michelangelo Antonioni." Raison présente 104, no. 1 (1992): 63–70. http://dx.doi.org/10.3406/raipr.1992.3064.

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23

O'Donnell, Marcus. "Following the Balibo massacre’s whale." Pacific Journalism Review : Te Koakoa 15, no. 2 (2009): 210–13. http://dx.doi.org/10.24135/pjr.v15i2.993.

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Early on in Tony Maniaty’s Shooting Balibo we come across Herman Melville, Michelangelo Antonioni and John Dos Passos. We quickly get the message that this is as much a journey of the imagination as it is a travelogue, memoir or investigation. Maniaty tells us that when he went to East Timor as an ABC reporter in 1975, just before the ill-fated journalists, his travel reading was Melville’s Moby Dick. Here we get a sense of the young journalist’s ambition, his questing commitment to follow the story, just as Ahab follows his whale.

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Gubareva, Marita. "Bisognerebbe fare qualcosa: Interview with Lora Guerra." Journal of Italian Cinema & Media Studies 11, no. 1 (2023): 11–23. http://dx.doi.org/10.1386/jicms_00154_7.

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In this wide-ranging interview, Lora Guerra talks of her meeting and marrying Tonino Guerra; of Guerra’s relationship to Russia, Lora’s homeland; of Tonino and Lora’s relationships with Michelangelo and Enrica Antonioni, Federico Fellini and Andrei Tarkovsky, among many others; of Guerra’s international interests beyond Russia; of his favourite writers; his years in Rome and his move back (with Lora) to Romagna in the 1980s; his methods of collaboration with different directors; his environmentalism, particularly in his later years; the nature of his art and vision – ‘peasant’ despite its cosm

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Eugeni, Ruggero. "“A Past Which Has Never Been a Present”. Cinema and Photography in Blow-Up by Michelangelo Antonioni." Recherches sémiotiques 28, no. 1-2 (2010): 125–35. http://dx.doi.org/10.7202/044592ar.

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This article analyses Michelangelo Antonioni’s Blow-Up (1966). The author argues that the film offers a fully-developed theory of photography, one that is consistent with Merleau-Ponty’s phenomenology and which emphasizes the embodiedness and situatedness of ‘Operator’ and ‘Spectator’. However, one key element of this theory resides in the recognition that these two ‘agents’ can never coincide.

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Aubron, Hervé. "Les répliques d’une explosion (carambolages et remake de soi dans Death Proof de Quentin Tarantino)." Cinémas 25, no. 2-3 (2016): 55–74. http://dx.doi.org/10.7202/1035772ar.

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Quentin Tarantino est souvent abordé à travers les prismes de l’érudition cinéphile et du jeu citationnel : la notion de « remakesecret » représente un moyen de l’envisager par-delà sa seule virtuosité. Son filmDeath Proof(Boulevard de la mort / À l’épreuve de la mort, 2007) est particulièrement riche en jalons référentiels, l’un des plus nets étantVanishing Point(Point limite zéro, 1971), de Richard Sarafian. Cette illustre production de série B partageait bien des figures avecZabriskie Point, de Michelangelo Antonioni, sorti un an auparavant. Sarafian pourrait-il être un intercesseur entre A

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Jie, Feng. "Clothing Degree Zero: A Late Reading of Barthes’ Fashion ‘System’." Theory, Culture & Society 37, no. 4 (2020): 97–118. http://dx.doi.org/10.1177/0263276420910484.

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Drawing upon Roland Barthes’ posthumously published notebooks from his 1974 trip to China, in which he remarks upon the ‘complete absence of fashion. Clothing degree zero’, this article offers a ‘late’ reading of Barthes’ interest in fashion, suggested here as a form of writing. In reference to the late works, specifically Barthes’ penultimate lecture course on the Neutral and Travels in China, supplemented by François Jullien’s comments on Barthes’ trip to China (regarding the use of the term ‘blandness’), as well as mention of Michelangelo Antonioni’s film Chung Kuo-Cina (which Barthes viewe

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Pomerance, Murray. "Michelangelo Antonioni Interviews, edited by Bert Cardullo. Jackson: University Press of Mississippi, 2008." Quarterly Review of Film and Video 27, no. 3 (2010): 236–41. http://dx.doi.org/10.1080/10509200802310632.

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Birtwistle, Andy. "Heavy Weather: Michelangelo Antonioni, Tsai Ming-liang, and The Poetics of Environmental Sound." Quarterly Review of Film and Video 32, no. 1 (2014): 72–90. http://dx.doi.org/10.1080/10509208.2012.757529.

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Chow, Rey. "China as documentary: Some basic questions (inspired by Michelangelo Antonioni and Jia Zhangke)." European Journal of Cultural Studies 17, no. 1 (2013): 16–30. http://dx.doi.org/10.1177/1367549413501482.

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31

Saporito, Paolo. "Cultural memory against institutionalised amnesia: the Togliatti amnesty and Antonioni’s I vinti." Modern Italy 23, no. 3 (2018): 299–313. http://dx.doi.org/10.1017/mit.2018.18.

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This article studies post-war Italy’s forgetful attitude towards its Fascist past by interpreting a political measure, the Togliatti amnesty (1946), and 1950s film censorship as ‘institutionalised forms of (…) amnesia’ (Ricoeur 2004, 452). The amnesty, which erased the Fascists’ legal responsibility for war and political crimes, represented the first act of oblivion of the Republican political establishment, embodying a forgetful mindset that influenced Italian culture through institutional instruments like film censorship. In 1950s Italy, censorship acted as a further form of institutionalise

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Mendieta Rodríguez, Elios. "El tedio crónico en el sujeto contemporáneo. Estudio del 'ennui' en 'La grande bellezza' (Paolo Sorrentino, 2013)." Escritura e Imagen 15 (December 3, 2019): 325–43. http://dx.doi.org/10.5209/esim.66746.

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Este artículo busca una aproximación al tema del ennui o tedio crónico en la contemporaneidad y, para ello, utiliza como modelo a Jep Gambardella, personaje protagonista de la película La grande bellezza (La gran belleza, 2013), dirigida por el italiano Paolo Sorrentino. En primer lugar, se realiza un repaso teórico e histórico del ennui. Posteriormente, y antes de entrar en el análisis del personaje de la citada película, abordo el trabajo de creadores como Ennio Flaiano, Michelangelo Antonioni o Jean Luc Godard, cuyos personajes –constantemente aburridos, apáticos y hastiados– han servido co

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Williams, James S. "The Rhythms of Life: An Appreciation of Michelangelo Antonioni, Extreme Aesthete of the Real." Film Quarterly 62, no. 1 (2008): 46–57. http://dx.doi.org/10.1525/fq.2008.62.1.46.

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Abstract This essay assesses Antonioni's oeuvre in its totality, focusing in particular on its constant negotiation of two extremes: documentary and melodrama. The essay argues that Antonioni's is a visionary project which, by achieving a genuine encounter between art and technology, extends an earlier tradition of the European avant-garde.

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Past, Elena. "Antonioni’s Anthropocene and Guerra’s enchanting gardens." Journal of Italian Cinema & Media Studies 11, no. 1 (2023): 41–59. http://dx.doi.org/10.1386/jicms_00156_1.

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This article explores the seemingly discordant ecologies that animate the ecopoetics of Tonino Guerra’s thinking, arguing that in Guerra’s work we find both a critique of human uses and abuses of the environment – in the era of environmental loss we are currently calling the Anthropocene – and an invitation to creatively reimagine our planetary place. More specifically, it addresses the contrasts between the bereft landscapes in the tetralogy of films Guerra wrote with Michelangelo Antonioni and the intricate, rich gardens of his poetry and of his hometown, Pennabilli. In contrast with (or per

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Kilpp, Suzana, and Ricardo Weschenfelder. "O invisível no plano cinematográfico: rastros de Benjamin e Bergson." Intexto, no. 35 (April 29, 2016): 27. http://dx.doi.org/10.19132/1807-8583201635.27-40.

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Neste artigo exploramos formas de presença e ausência nos enquadramentos e na percepção do espectador a partir de cenas e quadros do filme O Eclipse (1962) de Michelangelo Antonioni. Constatamos a intenção do cineasta em realizar, nesse filme, o que denominamos de ‘eclipse de visualidade’, isto é, rastros entre o visível e o invisível na montagem dos planos cinematográficos. O tempo intrínseco da montagem faz com que os quadros retornem de outra maneira, remetam a outros quadros e, sobretudo, deixem rastros na passagem das imagens e dos sons em movimento. Nesta discussão sobre rastros do invis

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Partearroyo, Manuela. "The beauty in the beast and the beast in the beauty. The voyeur’s view." Escritura e Imagen 16 (December 16, 2020): 57–69. http://dx.doi.org/10.5209/esim.73025.

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This paper would like to analyse two films, The Elephant Man (David Lynch, 1981) and Blow up (Michelangelo Antonioni, 1966) and one classic myth, Mary Shelley’s Frankenstein, through the very poignant figure of the voyeur. We will investigate this observer of the unnamable focusing on two characters, two eyewitnesses: the scientist who discovers John Merrick and the photographer who becomes obsessed with finding a corpse in an amplified picture. Both these voyeurs seem to be in search of the bewitching and sublime darkness that lies within, a search that in a way is inaugurated by the Promethe

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Lahaie, Christiane. "Du fantastique littéraire au fantastique filmique : une question de point de vue?" Cinémas 5, no. 3 (2011): 45–63. http://dx.doi.org/10.7202/1001146ar.

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Le texte littéraire fantastique déploie toute une batterie de stratégies narratives propres à en assurer l’intelligibilité. Au-delà d’un fantastique canonique, reconnu d’emblée comme tel, il existe un fantastique plus discursif, où l’acte d’énonciation et ultimement la narration tout entière se voit contaminés par une certaine ambiguïté. Or, ce type de fantastique scriptural issu d’un focalisateur plus ou moins « digne de confiance » existe-t-il toujours une fois adapté à un processus d’énonciation apparemment plus « objectif » comme celui du récit filmique ? L’analyse de deux textes littérair

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38

Aertsen, Víctor. "Experiencia perceptiva y falsos planos subjetivos en El eclipse (Michelangelo Antonioni, 1962) y Muerte en Venecia (Luchino Visconti, 1971)." Fonseca, Journal of Communication, no. 21 (November 26, 2020): 15. http://dx.doi.org/10.14201/fjc202021237251.

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Los planos subjetivos son un recurso poderoso cuando aparecen en su estructura canónica, pero también presentan un gran potencial estético cuando esta se altera para romper las expectativas del espectador. Por ejemplo, en los casos de “falso plano subjetivo” en los que el espectador se enfrenta a la necesidad de reevaluar la condición subjetiva del plano que observa al aparecer en el mismo el personaje con el que creía estar compartiendo la mirada. Todos los falsos planos subjetivos producen experiencias que comparten ciertas cualidades fenomenológicas por el modo en que actúan sobre las expec

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Burke, Frank. "Editorial." Journal of Italian Cinema & Media Studies 11, no. 1 (2023): 5–9. http://dx.doi.org/10.1386/jicms_00153_2.

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2020 was the centennial anniversary not just of Federico Fellini, but of fellow Romagnol Tonino Guerra, whose name is often associated with Fellini but who has been significantly underappreciated in Italian film scholarship. This Special Issue of the Journal of Italian Cinema & Media Studies (JICMS) seeks to help redress the lack of attention given to Guerra work. He is best known in the English-speaking world for his screenwriting, especially with Michelangelo Antonioni and Fellini, and since JICMS is a film journal, the issue centres on his film work while also contextualizing it in term

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Bertellini, Giorgio. "Straniere a se stesse. Identità femminili e stilistica visuale nel cinema di Michelangelo Antonioni degli anni cinquanta." Italian Culture 37, no. 2 (2019): 173–75. http://dx.doi.org/10.1080/01614622.2019.1683274.

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Lepratto, Livio. "From vernacular art to the auteur moment: Tonino Guerra as a poet, writer and scriptwriter in the 1940s and 1950s." Journal of Italian Cinema & Media Studies 11, no. 1 (2023): 25–40. http://dx.doi.org/10.1386/jicms_00155_1.

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This article will investigate aspects of a little studied but key figure in Italian cinema, Tonino Guerra, focusing on his debut as a film screenwriter. The article employs a comparative approach, relating the first poetic and narrative works of Guerra of the 1940s to his first steps as a film scriptwriter of the 1950s, with his fruitful collaborations with directors such as Aglauco Casadio, Giuseppe De Santis and Michelangelo Antonioni. I rely on unpublished materials such as Guerra’s private writings and correspondence (in particular, with his friend and future colleague Federico Fellini) an

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Vitella, Federico. "Comment Michelangelo Antonioni a réalisé L’avventura. La genèse du film, telle que la révèlent les documents de production." 1895 66, no. 66 (2012): 74–91. http://dx.doi.org/10.4000/1895.4461.

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Wang, Nashuyuan Serenity. "Filmic Architect or Architectural Filmmaker?: Examining the Relationship Between Space and Cinema in the Work of Michelangelo Antonioni." Film Matters 10, no. 1 (2019): 96–117. http://dx.doi.org/10.1386/fm.10.1.96_1.

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Mobili, Giorgio. "Fun until the end: The nightclub fantasy in the Italian cinema of the economic miracle." Forum Italicum: A Journal of Italian Studies 53, no. 1 (2019): 139–54. http://dx.doi.org/10.1177/0014585818821047.

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This article examines the use of the nightclub trope in three films from the early years of the Italian “economic miracle”: Luchino Visconti’s White Nights (1957), Federico Fellini’s Nights of Cabiria (1957), and Michelangelo Antonioni’s La Notte (1961). Availing myself of psychoanalytic theory, I discuss how, in these three films, the nightclub is deployed as a hermeneutic space that sheds light on the functioning of the then nascent ideology of consumption, specifically on the way it captures the subject through fantasy. Capitalism earns our allegiance by creating the illusion that the ontol

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Dal Pra, Daniela Cunico. "Andrea Malaguti. Straniere a se stesse. Identità femminili e stilistica visuale nel cinema di Michelangelo Antonioni degli anni cinquanta." Quaderni d'italianistica 41, no. 2 (2021): 227–29. http://dx.doi.org/10.33137/q.i..v41i2.36785.

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Parmeggiani, Francesca. "Andrea Malaguti, Straniere a se stesse. Identità femminili e stilistica visuale nel cinema di Michelangelo Antonioni degli anni cinquanta." Forum Italicum: A Journal of Italian Studies 54, no. 3 (2020): 844–46. http://dx.doi.org/10.1177/0014585820950211.

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서정아. "An Research on the Genetic Space in the Films of Michelangelo Antonioni and the Presence of Anxiety in Heidegger." Contemporary Film Studies 10, no. 2 (2014): 61–91. http://dx.doi.org/10.15751/cofis.2014.10.2.61.

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Chatman, Seymour. ": The Architecture of Vision: Writings and Interviews on Cinema . Michelangelo Antonioni, Carlo di Carlo, Giorgio Tinazzi, Marga Cottino-Jones." Film Quarterly 50, no. 4 (1997): 38–40. http://dx.doi.org/10.1525/fq.1997.50.4.04a00080.

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Orban, Clara. "Straniere a Se Stesse. Identità femminili e stilistica visuale nel cinema di Michelangelo Antonioni degli anni cinquanta, by Andrea Malaguti." Journal of Modern Italian Studies 24, no. 4 (2019): 634–36. http://dx.doi.org/10.1080/1354571x.2019.1646513.

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Chatman, Seymour. "Review: The Architecture of Vision: Writings and Interviews on Cinema by Michelangelo Antonioni, Carlo di Carlo, Giorgio Tinazzi, Marga Cottino-Jones." Film Quarterly 50, no. 4 (1997): 38–40. http://dx.doi.org/10.2307/1213446.

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