This chapter addresses the perceived turn to ‘interiority’ in Antonioni’s cinema during the course of the 1960s, often described as an ‘interior neorealism’ or a quintessentially psychological cinema. Such turn, often associated with a breakdown of narrativity and a changed temporal economy, is generally enlisted as another factor fostering increased cinematic purity. Yet I consider how it can be better understood by examining its entanglement with the diffusion of television. In the wake of its mass diffusion in the 1950s, this new medium, transmitting an externally generated ‘flow’ of images inside the home, gave rise to new temporal and viewing economies, as well as preoccupations about its effects on viewers’ interiority: their minds. Starting with a discussion of L’avventura and La notte, this chapter considers how the new temporal aesthetics of Antonioni’s cinema may be both a consequence of and a reaction to the televisual. The discussion then concludes with Il deserto rosso to address how television’s dynamics of interiority and exteriority are in turn connected with the then-emerging fields of cybernetics and early computers, with which Antonioni, like other ‘moderns’, was fascinated.
Mechanism of duration perception in artificial brains suggests new model of attentional entrainment
