antonioni essay

explicit sex scenes and, disconcertingly, it does look a little like a porn film. Griffith and Lillian Gish back in the silent era, Josef von Sternberg and Marlene Dietrich in the early 1930s, Jean-Luc Godard and Anna Karina at the time of the French New Wave. In the history of cinema, there have been several notable collaborations between a director and an actress over a series of films. Zapruder home-footage of the Kennedy assassination. But Antonioni is a detective faced with a mystery too large and implicative to admit of a solution. All of them are the work of a master, and yet if I had to recommend one to start off with, it would be The Lady Without Camelias. The conventional camera is a storyteller that knows the story and picks out for us at each moment just what we need to see; Antonionis camera continually explores the alternative, the stray aspect, the revising angle, the newly revealing movement. I know women very well. This is made explicitly evident when Ron tells Thomas that he is not a photographer, implying he does not care about his quest.

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Michelangelo Antonioni, Centro Sperimentale di Cinematografia, Rom.
In his influential essay, The Cinema of Poetry (drawn from a 1965.

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The 1950s classics: The Lady Without Camelias, The Friends, The Vanquished these are the DVDs which I now feel like shoving into people's hands and saying: watch this. Aldo is electrified by the tall tales of a dredger captain he meets, who says he made a modest pile working in Venezuela. In the first one, Vittoria, after having been up all night in a draining quarrel with the lover she has decided to leave, arrives at the market, the Borsa in the center of Rome, looking for her mother, wishing to talk to her about the. Antonionis camera is itself a kind of detective. You can't appreciate what a strange and wonderful director Antonioni is without watching that early gem.