Michelangelo Antonioni

Antonioni, Michelangelo - mëkālänˈjālō äntōnyôˈnē, 1912–, Italian film director and scriptwriter, b. Ferrara, Italy. In the 1940s he made documentaries that contributed to the development of Italian neorealism. His later films deal with the alienation, malaise, and loveless eroticism of modern life, with plot and Read More...

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Michelangelo Antonioni

1.

Michelangelo Antonioni: An Introduction
by Pierre Leprohon, Scott Sullivan. 210 pgs.

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Title Page

Contents

Acknowledgments

I: Michelangelo Antonioni: The Man and His Work

3. Le Amiche

4. II Grido

5. L'avventura

6. La Notte and the Future

II: Antonioni on the Cinema

Ideas and Facts

Directing

The Actor

III: Antonioni's Works

From II Grido

From La Notte

V: Criticism and Commentary

Experimental Directing

Only Here and Only Now

The Poet of Matriarchy

Literary Cinema

A New Feeling for Reality

On L'avventura

An Artist for an Age

On Antonioni's L'eclisse

Artist at Work

Eclipse: Man into Obiect

For L'avventura: Statement Distributed at The 1960 Cannes Film Festival

Filmography

Bibliography

Notes on Part I
2.

Screenplays
by Michelangelo Antonioni. 361 pgs.

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Contents

Introduction

Il Grido: (the Outcry) 1956-1957

I'Avventura: 1959

La Notte: (the Night) 1960

L' Eclisse (the Eclipse) 1962

Credits
3.

Film and the Critical Eye (Chap. 16 "L'Avventura (The Adventure)")
by Dennis Denitto, William Herman. 548 pgs.

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Title Page

Preface

Acknowledgment

Contents

Part One

Chapter 1 Viewing a Film

Chapter 2 Interpreting a Film

Part Two

Chapter 3 The Language of Film

Chapter 4 The Rhetoric of Film

Part Three

Chapter 5 The Last Laugh [Der Letzte Mann] Directed by F. W. Murnau

Chapter 6 The Gold Rush

Chapter 7 M Lang

Chapter 8 Grand Illusion [La Grande Illusion] Directed by Jean Renoir

Chapter 9 The Rules of the Game [La Regle Du Jeu] Directed by Jean Renoir

Chapter 10 Beauty and the Beast [La Belle Et La Bête] Directed by Jean Cocteau

Chapter 11 Rashomon Directed by Akira Kurosawa

Chapter 12 La Ronde Directed by Max Ophuls

Chapter 13 The Seventh Seal [Det Sjunde Inseglet] Directed by Ingmar Bergman

Chapter 14 Wild Strawberries [Smuktronstället]

Chapter 15 Ashes and Diamonds [Popiol I Diamant] Directed by Andrzej Wajda

Chapter 16 L'Avventura [The Adventure]

Chapter 17 IL Posto [The Sound of Trumpets] Directed by Ermanno Olmi

Chapter 18 Jules and Jim Directed by François Truffaut

Chapter 19 Notes on Six Films

Biographies and Filmographies

Bibliography

Index
4.

Vital Crises in Italian Cinema: Iconography, Stylistics, Politics, Vol. 11 (Chap. 7 "Antonioni's Psychoanalysis of the 'Boom'")
by P. Adams Sitney. 240 pgs.

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Italian films of the post-World War II period showed an extraordinary power and originality that sets them apart from others in the history of Italian cinema. In this book, P. Adams Sitney combines new interpretations of many of these films with original research into the intellectual milieu in which they were made in order to explain them as reflections of Italian national life during moments of vital self-definition. The films Sitney analyzes were made during the years 1945-1950 and 1958-1963. Taking six films from the first period and nine from the second, he focuses on three interrelated aspects: the ways in which they refer, directly or obliquely, to the social and political issues of their times; their relationships to contemporary currents in Italian literature; and their elaborations of a traditional iconography to which they actively contribute. Rossellini, Visconti, De Sica, Zavattini, Antonioni, Pasolini, Olmi, and Rosi are among the directors whose work he discusses. The films include Paisa, La terra trema, La dolce vita, and Il deserto rosso.

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Contents

Preface

Chapter I Introduction

Chapter 2 Rossellini's Resistance

Chapter 3 Visconti: the National Language, Dialect, and the Southern Question

Chapter 4 De Sica's and Zavattini's Neopopulism

Chapter 5 Between the Vital Crises

Chapter 6 Annus Mirabilis

Chapter 7 Antonioni's Psychoanalysis of the "Boom"

Chapter 8 New Wave Neorealism: Pasolini, Olmi, Rosi

Chapter 9 Conclusion

Notes

Index
5.

The Contemporary Cinema (1963) (Discussion of Michelangelo Antonioni begins on p. 21)
by Penelope Houston. 226 pgs.

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Contents

Preface

1. Introductory

2. the Italian Experience

3. Which Picture Made the Money?

4. the Nervous Years

5 Production Values

6. Taken from the French

7. the Free French

8. Room at the Top

9.Thought Control

10. the Major Industries

Ii. the Movie-Makers

12. Looking for an Audience

13. Towards a New Cinema

Check-List of Films and Directors

Selected Book List

Index

Anger and After: A Guide to the New British Drama
6.

The Oxford History of World Cinema (Discussion of Michelangelo Antonioni begins on p. 568)
by Geoffrey Nowell-Smith. 824 pgs.

Book

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From its humble beginnings as a novelty in a handful of cities, cinema has risen to become a billion-dollar industry and the most spectacular and original contemporary art form. In The Oxford History of World Cinema, an international team of film historians traces the history of this enduringly popular entertainment medium. Covering all aspects of its development, stars, studios, and cultural impact, the book celebrates and chronicles over one hundred years of diverse achievement from westerns to the New Wave, from animation to the avant-garde, and from Hollywood to Hong Kong. The Oxford History of World Cinema tells the story of the major inventions and developments in the cinema business, its institutions, genres, and personnel, and they outline the evolution of national cinemas round the world--the varied and distinctive film traditions that have developed alongside Hollywood. A unique aspect of the book are the special inset features on the film-makers and personalities--Garbo and Godard, Keaton and Kurosawa, Bugs Bunny and Bergman--who have had an enduring impact in popular memory and cinematic lore. With over 280 illustrations, a full bibliography, and an extensive index, this is the buff's ultimate guide to cinema worldwide.

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Title Page

Acknowledgements

Contributors

Contents

Special Features

List of Colour Illustrations

General Introduction

1: Silent Cinema 1895-1930

Introduction

Origins and Survival

Bibliography

Early Cinema

Bibliography

Transitional Cinema

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The Hollywood Studio System

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The World-Wide Spread of Cinema

The First World War and the Crisis in Europe

Bibliography

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Tricks and Animation

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Comedy

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Documentary

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Cinema and the Avant-Garde

Serials

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French Silent Cinema

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Italy: Spectacle and Melodrama

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British Cinema from Hepworth to Hitchcock

Germany: the Weimar Years

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The Scandinavian Style

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Pre-Revolutionary Russia

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The Soviet Union and the Russian émigrés

Yiddish Cinema in Europe

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Japan: Before the Great Kanto Earthquake

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Music and the Silent Film

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The Heyday of the Silents

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2: Sound Cinema 1930-1960

Introduction

The Introduction of Sound

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Hollywood: the Triumph of the Studio System

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Censorship and Self-Regulation

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The Sound of Music

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Technology and Innovation

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Animation

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Cinema and Genre

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The Western

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The Musical

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Crime Movies

The Fantastic

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Documentary

Socialism, Fascism, and Democracy

Bibliography

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The Popular Art of French Cinema

Italy from Fascism to Neo-Realism

Bibliography

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Britain at the End of Empire

Germany: Nazism and After

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East Central Europe Before the Second World War

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Soviet Film Under Stalin

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Indian Cinema: Origins to Independence

China Before 1949

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The Classical Cinema in Japan

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The Emergence of Australian Film

Cinema in Latin America

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After the War

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Transformation of the Hollywood System

Independents and Mavericks

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3: The Modern Cinema 1960-1995

Introduction

Television and the Film Industry

The New Hollywood

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New Technologies

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Sex and Sensation

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The Black Presence in American Cinema

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Exploitation and the Mainstream

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Dreams and Nightmares in the Hollywood Blockbuster

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CinÉma-VÉritÉ and the New Documentary

Avant-Garde Film: the Second Wave

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Animation in the Post-Industrial Era

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Modern Film Music

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Art Cinema

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New Directions in French Cinema

Italy: Auteurs and After

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Spain After Franco

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British Cinema: the Search for Identity

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The New German Cinema

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East Germany: the Defa Story

Changing States in East Central Europe

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Russia After the Thaw

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Cinema in the Soviet Republics

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Turkish Cinema

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The Arab World

The Cinemas of Sub-Saharan Africa

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Iranian Cinema

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India: Filming the Nation

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Indonesian Cinema

China After the Revolution

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Popular Cinema in Hong Kong

Taiwanese New Cinema

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The Modernization of Japanese Film

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New Australian Cinema

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New Zealand Cinema

Canadian Cinema/Cinéma Canadien

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New Cinemas in Latin America

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New Concepts of Cinema

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The Resurgence of Cinema

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Index

List of Picture Sources
7.

A History of Narrative Film ('Michelangelo Antonioni" begins on 612)
by David A. Cook. 1087 pgs.

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Title Page

A History of Narrative Film

Contents

Preface

Preface to the Third Edition

Acknowledgments

A Note on Method

A Note on Supplementary Material

A Note on Dates, Titles, and Stills

1: Origins

2: International Expansion, 1907-1918

3: D. W. Griffith and the Development of Narrative Form

4: German Cinema of the Weimar Period, 1919-1929

5: Soviet Silent Cinema and the Theory of Montage, 1917-1931

6: Hollywood in the Twenties

7: The Coming of Sound and Color, 1926-1935

8: The Sound Film and the American Studio System

9: Europe in the Thirties

10: Orson Welles and the Modern Sound Film

11: Wartime and Postwar Cinema: Italy and the United States, 1940-1951

12: Hollywood, 1952-1965

13: The French New Wave and Its Native Context

14: New Cinemas in Britain and the English-Speaking Commonwealth

15: European Renaissance: West

16: European Renaissance: East

17: The Former Soviet Union, 1945-Present

18: Wind from the East: Japan, India, and China

19: Third World Cinema

20: Hollywood, 1965—present

Glossary

Selective Bibliography for the Third Edition

Index
8.

Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson ("From the Air: A Genealogy of Antonioni's Modernism" begins on p. 183)
by Richard Allen, Malcolm Turvey. 294 pgs.

Book

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Annette Michelson’s contributions to art and film criticism over the last three decades have been unparalleled. This volume honors her unique legacy with original essays by some of the many scholars who have been influenced by her work. Some continue her efforts to develop theoretical frameworks for understanding modernist art, while others practice her form of interdisciplinary criticism in relation to avant-garde and modernist art works and artists. Still others investigate and evaluate Michelson’s work itself. All in some way pay homage to her extraordinary contribution.

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Camera Obscura, Camera Lucida:: Essays in Honor of Annette Michelson

Contents

Acknowledgements

Preface

Introduction

The Logic of an Illusion: Notes on the Genealogy of Intellectual Cinema

Narcissistic Machines and Erotic Prostheses

Loïe Fuller and the Art of Motion: Body, Light, Electricity, and the Origins of Cinema

Visitings of Awful Promise: The Cinema Seen from Etna

Transfiguring the Urban Gray: László Moholy-Nagy's Film Scenario `Dynamic of the Metropolis'

Eisenstein's Philosophy of Film

Knight's Moves

Hitchcock and Narrative Suspense: Theory and Practice

From the Air: A Genealogy of Antonioni's Modernism

Dr. Strangelove: Or: the Apparatus of Nuclear Warfare

Collection and Recollection: On Film Itineraries and Museum Walks

Afterward: a Matter of Time: Analog Versus Digital, the Perennial Question of Shifting Technology and Its Implications for an Experimental Filmmaker's Odyssey

Select Bibliography

List of Contributors

Index

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