Andrea Malaguti. Straniere a se stesse. Identità femminili e stilistica visuale nel cinema di Michelangelo Antonioni degli anni cinquanta

2021 ◽  
Vol 41 (2) ◽  
pp. 227-229
Author(s):  
Daniela Cunico Dal Pra
Keyword(s):  
Michelangelo Antonioni

The Films of Michelangelo Antonioni

1998 ◽  
Author(s):  
Peter Brunette
Keyword(s):  
Michelangelo Antonioni

: The Blow-Up . Michelangelo Antonioni .

1967 ◽  
Vol 20 (3) ◽  
pp. 28-31
Author(s):  
Max Kozloff
Keyword(s):  
Blow Up ◽  
Michelangelo Antonioni

Review: L'Avventura by Michelangelo Antonioni, Cino del Duca

1961 ◽  
Vol 14 (4) ◽  
pp. 51-54
Author(s):  
Roger Sandall
Keyword(s):  
Michelangelo Antonioni

scholarly journals Following the Balibo massacre’s whale

2009 ◽  
Vol 15 (2) ◽  
pp. 210-213
Author(s):  
Marcus O'Donnell
Keyword(s):  
Herman Melville ◽  
East Timor ◽  
John Dos Passos ◽  
Moby Dick ◽  
Michelangelo Antonioni

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.

Coming of age in Milano: Ermanno Olmi from sponsored cinema to feature filmmaking

2021 ◽  
Vol 9 (3) ◽  
pp. 411-428
Author(s):  
Jim Carter
Keyword(s):  
Coming Of Age ◽  
Italian Cinema ◽  
Modern Life ◽  
Cinema Studies ◽  
The Past ◽  
Michelangelo Antonioni ◽  
Feature Films ◽  
Bernardo Bertolucci ◽  
Critical Process

This article argues that a full understanding of Ermanno Olmi’s feature films will require a deep engagement with the sponsored cinema he made as director of the Sezione Cinema Edisonvolta. It begins by spelling out some of the stakes and challenges of a ‘sponsored turn’ in Italian cinema studies, which during the past decade has inaugurated the long archival and critical process of revaluing the corporate roots of auteurs like Michelangelo Antonioni, Bernardo Bertolucci and, to a certain extent, Ermanno Olmi. It then elaborates on the relation between Olmi’s sponsored cinema (1953–61) and feature filmmaking (1961–2014) by analysing two films that mark the director’s transition from the small to big screen: Michelino 1 a B (1956) and Il posto (1961). The central contention is that these films tell two different versions of the same coming-of-age story: a young boy from the provinces finds work in a downtown office building, where he must come to terms with the fact that he will remain there all his life. The distance between the two films is a measure of Olmi’s own coming-of-age as an intellectual: from a resolved promoter of the guiding role of business in modern life to a sceptical interrogator of white-collar mundanity. After a comparative reading that reveals general similarities of structure and specific scenes of quotation, the article concludes with some remarks about education, a concept through which Olmi’s feature films show themselves to be aware of – even commenting on – sponsored cinema.

Michelangelo Antonioni

Montage ◽  
2019 ◽  
Author(s):  
Sam Rohdie
Keyword(s):  
Michelangelo Antonioni
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