The Architecture of Vision: Writings and Interviews on Cinema

By Michelangelo Antonioni

“A filmmaker is a guy like several different; and but his lifestyles isn't the comparable. . . . this can be, i believe, a distinct manner of being involved with reality.” Or so says Michelangelo Antonioni, the mythical filmmaker at the back of the stark landscapes and social alienation of Blow-Up and L’Avventura, who right here finds his idiosyncratic courting with fact in The structure of Vision.

Through autobiographical sketches, theoretical essays, interviews, and conversations with such luminaries as Jean-Luc Godard and Alberto Moravia, this compelling quantity explores the director’s particular model of narrative-defying cinema in addition to the motivations and anxieties of the fellow in the back of the camera.

The structure of Vision presents a filmmaker’s soaking up reflections and insights on his profession. . . . Antonioni’s reviews . . . deepen and humanize a occasionally cerebral book.”—Publishers Weekly
“[Antonioni’s] erudition is wonderful . . . few of his friends can fit his verbal articulateness.”—Film Quarterly
“This precious source deals entrée to fabric tricky to achieve entry to less than different circumstances.”—Library Journal

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Yet this video game of allusions or inlays is scarcely effective. Nor does it aid a lot to invite for causes of for­ mulas (alienation, difficulty, incommunicability) from an individual who's so very far-off from definitions and classifications. XVI \ THE structure OF imaginative and prescient Antonioni additionally has a tendency to minimize, if no longer stay away from, serious questions of an his­ torical nature. this is often the case together with his complicated dating with neorealism. in accordance with his perspective, he's correct in emphasizing yes coincidences. for example, he used to be filming humans of the Po Vaffey while and within the comparable quarter the place Visconti used to be surroundings his movie Ossessionc. "I needed to invent neore­ alism bit by bit by myself, not anyone had taught it to me. " afterward, he'll indicate, accepting a formulation coined via French feedback, that his attempt used to be towards interiorizing-toward what's contained in the person, at his think­ ings, after the tale and the exterior parts were tested. at the back of those assertions of a intentionally common nature there's, notwithstanding, the belief that the cultural and political "climate" has however represented a primary event. The query is, for whom? For Antonioni's cinema, or for the Italian cinema after the battle? If, from the context, we move directly to specialise in the one texts, the 1st personality­ istics of Antonioni's cinema that emerge are recognizability and consistency. in truth, there are transparent stylistic features that recur in his paintings, frequently followed via thematical predilections. it truly is an ceuure which develops coherently-also via recurrences, distor­ tions, and adaptations, lower than the signal of continuity and innovation. The director realizes this; and even supposing he additionally realizes that the continuity isn't an indication of monody, yet quite of inquiry, he turns out, still, virtually frightened of recur­ rences. He often insists upon the weather of variety, if no longer of disjunc­ tion, in his works: "The Vanquished doesn't symbolize an in depth exam and improvement of the subjects from which i began, and that are pricey to me. relatively, it's a deviation which has allowed me to solve for myself a sequence of technical and aesthetic difficulties. " therefore, the purpose to carry again subject matters and methods for extra rationalization and distillation is settled from the start on the formal point. If Antonioni, whereas filming Blow-Up, acknowledged that the movie used to be "entirely diverse from its predecessors," afterward he thought of Tecnicamente dolce [Technically candy] (a undertaking that was once by no means accomplished due to manufacturer Ponti's unexpected swap of brain) most unlikely to make after The Passenger: "There is a undeniable resemblance among the characters of the 2 motion pictures, and because of this why at the present time, after having accomplished The Passenger, I now not think like filming Tecnicamente dolce. " however the connection. whether the movies fluctuate, persists, and it virtually turns out as if Antonioni nonetheless feels the necessity to deviate. "This might be my final Antonionian film," he stated in the course of the capturing of identity of a lady, "in the experience that i want to unfastened INTRODUCTION / xvii myself from the weight of emotions so one can retain extra to the proof.

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