Antonioni, or, The surface of the world 9780520053410, 9780520052055

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Antonioni OR, THE SURFACE OF THE WORLD

seymour Chatman

UNIVERSITY OF CALIFORNIAPRESS __

Berkeley LosAngeles London

University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 1985 by The Regents of the University of California

Library of Congress Cataloging in Publication Data Chatman, Seymour Benjamin, 1928Antonioni, or, The Surface of the world. Filmography: p. Bibliography: p. Includes index. 1. Antonioni, Michelangelo. I1.Title. II. Title: Antonioni. III. Title: Surface of the world.

PN1998.A3A654 1985 791.43'0233'0924 85-1025 ISBN 978-0-520-05341-0 (pbk.: alk. paper) Printed in the United States of America

789

The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—~Permanence of Paper for Printed Library Materials, ANSI Z39.48 — 1984.

The mere exposure to the visible surface of the world will not arouse ideas unless the spectacle is approached with ideas ready to be stirred up. —Rudolf Arnheim Images are mute, yet presently the silent cinema begins to talk, and I recognize its language. — Vladimir Nabokov (in his last interview)

A movie has meaning in the same way that a thing does: neither of them speaks to an isolated understanding; rather, both appeal to our power tacitly to decipher the world of men and to coexist with them. It is true that in our ordinary lives we lose sight of this aesthetic value of the tiniest perceived thing. It is also true that the perceived form is never perfect in real life, that it always has blurs, smudges, and superfluous matter, as it were. Cinematographic drama is, so to speak, finer- grained than real-life dramas: it takes place in a world that is more exact than the real world. But in the last analysis, perception permits us to understand the meaning of the cinema. A movie is not thought; it is perceived. ——Maurice Merleau-Ponty

Not to speak does not mean that one has nothing to say. Those who do not speak may be brimming over with emotions, which can be expressed only in forms and pictures, in gesture and play of feature. The man of visual culture uses these not as substitutes for words, as a deaf-mute uses his fingers. He does not think in words, the syllables of which he sketches in the air like the dots and dashes of the Morse code. The gestures of visual man are not intended to convey concepts, which can be expressed in words, but such inner experiences, such nonrational emotions as would still remain unexpressed when everything that can be told has been told.

, — Béla Balazs It was precisely by photographing and enlarging the surface of the things around me that I sought to discover what was behind those things. —DMichelangelo Antonioni

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Contents

Acknowledgments 1X A Note on Photographic Reproductions Xl

Introduction 1 1. Early Films 5

2. Il grido 39

3. The Great Tetralogy: Plots and Themes 51

4. The Great Tetralogy: Characters 83

5. The Great Tetralogy: Settings and Environments 99

6. The Great Tetralogy: Cinematic Form 114

7. “I provino” and Blow-Up 136 8. Zabriskie Pointand Chung Kuo Cina 159

9. The Passenger and I mistero di Oberwald 176

Conclusion 241 Notes 245

10. Identificazione di una donna 213

Filmography 265 Selected Bibliography 271

Index 283

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Acknowledgments

I would like to thank the following persons who helped me, one way or another, in

writing this book: Lucilla Albano, Bertrand Augst, Michael Billingsley, Yvette _ Bird, Michel and Claudia Bodmer, Ernest Callenbach, Guido Carboni, Carlo di Carlo, Francesco Casetti, Elaine Chekich, David Cohen, Furio Colombo, Sophie Consagra, Walter Cini, David Degener, Anthony Dubovsky, Ray Durgnat, Umberto Eco, Paul Ekman, Linus Eukel, Marilyn Fabe, Guido Fink, Nancy Goldman, Jennifer Hammett, Steve Hawes, Beverle Houston, George Huega, Peter Hughes, Ann Juell, Bruce Kawin, Marsha Kinder, Edith Kramer, David Littlejohn, Lars Lerup, Sam Levin, Ronald Levaco, Tom Luddy, Patrizia Magli, Enzo

and Franca Mancini, Gianni Massironi, Mark McFadden, Lino Micciché, Fiorenza Moller, Gavriel Moses, Laura Mulvey, William Nestrick, Pino Paioni, Constance Penley, Patrizio Rossi, Tsurumi Rumberger, Thomas Schmidt, Marilyn Schwartz, Peter Selz, Kaja Silverman, Michael Silverman, Bill Smith, Patrick Smith, Aldo Tassone, Laura Thielen, Peter Wollen, and Robin Wood. Special thanks are due the director and staff of the Centro Sperimentale di Cinematografia in Rome for helping me view rare Antonioni films and to the director and staff of the Ufficio Cinema of the Comuni di Ferrara for inviting me to participate in their conference on Antonioni in autumn 1983. To the National Endowment for the Humanities I wish to express my appreciation for support that enabled me to work in Rome. To my wife, Barbara Blomer, and to my daughter, Mariel, thanks are due (more than words can express) for making the trip memorable beyond the merely professional level. To the American Academy in Rome we owe our gratitude for housing and other support during

our Stay. }

To Michelangelo Antonioni I want to express my deep gratitude for various kindnesses, in particular a long and no doubt for him exhausting interview and the loan of films that I could not find elsewhere.

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|\ A Note on

Photographic Reproductions

It has become a rueful tradition in film books with photographic illustrations to __ apologize for their quality, especially that of frame reproductions as opposed to photographs taken by still photographers on the set. (For the sake of simplicity I shall refer to all the reproduced photographs as frames.) Images that look clear

, and sharp on the screen in the theater often turn out blurred and muddy even when reproduced with the best equipment. Perhaps that is one more artifact of the persistence-of-vision phenomenon. One feels a special sorrow, in the case of a visual artist like Antonioni, not to be able to provide photographs that do justice to the wonderful images on the cinema screen. I ask my reader to consider these illustrations as the merest of sketches, as rough indexes to the frames and shots they are meant to recall. The problem is especially acute when reproducing frames from color films like /l deserto rosso.

Beyond that apology there lies a more implicit one —for presuming to capture within the covers of a book anything like what passes before us at twentyfour frames per second. As my friend Leo Braudy put it in his book Jean Renoir, that is like trying to characterize a literary career with a list of the poet’s ten favorite words.

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Introduction

What is impressive about Antonioni’s films is not only that they are good but that they have been made at all. Films depend directly on mass public support in the form of ticket purchases. Antonioni’s films do not appeal to large audiences, and like many another artist he has had to be tenacious, tough-minded, and resilient to pursue his exacting goals through many difficult years. In a 1980 television interview on RAI with Lino Micciché he said: “I always had to fight like crazy to make cinema, because my films ... have always been tremendous commercial failures. .. . The producers consider me acold director, a sophistic director, an intellectual director.’”* Why do average moviegoers find Antonioni difficult? Perhaps because his sub-

tleties of form make the content seem more abstruse than it really is. The slow editing pace, the careful, subtle, measured camera movements, and the long holds on faces and details of location violate their expectations and elicit the question that producers most dread—What’s this movie about anyway? Yet the preoccupations of the films do not differ markedly from those of network television’s daily fare —the difficulty of sustaining a love relationship, of finding work that is meaningful, of weathering the stormy conflict between our own drive and others’ expectations of us. It is not the first time that the form of a work has obscured its meaning —though economic exigencies make that phenomenon rarer in film than it is in the other arts. Of course, it may attest to a film’s power that some viewers walk out. As Roland Barthes put it in a tribute to Antonioni: The activity of the artist is suspect because it disturbs the comfort, the security of the established senses, because it is at once expensive and free, and because the new society which seeks to find itself through diverse regimens has not yet decided what to think.”

The discomfort felt by average moviegoers was felt even more acutely by nervous producers. For years Antonioni has been regista maledetito, doomed to be unpopu-

lar because he was too private. Antonioni recalls one of the blunter of these rejections, made in the fifties by a producer named Amato: “ You, Antonioni, are a great director, but we’ve got to kill you. . . because you’re dangerous to cinema, because it’s such a pain to see your films.”* The producers who have risked their I

2 INTRODUCTION energy and capital on Antonioni’s projects will be remembered with gratitude for their vision and contribution to the art of cinema. Antonioni has to some extent been vindicated by time. Hooted and derided by audiences at the Cannes film festival in 1959, L’avventura was a few years later judged to be one of the ten best films of all time. Far from being dated, it is more accessible than ever; what was opaque twenty years ago seems translucent today. (The same fate befell other great filmmakers, the Fellini of 8/2 and the Bergman of Persona.) Antonioni’s films have even anticipated issues of widespread public

concern. La notte, L’eclisse, and Il deserto rosso, for instance, touched on the unnerving collapse of normal assumptions about the safety and stability of the environment at atime when few people thought about such matters. It is not hard to see in them implications for the lives of residents of Three Mile Island or Love Canal. Although environmental anxieties have come to be exploited by pop films and television programs (microwave bombardments by the Russians, all manner of UFOs, shootouts in space), Antonioni’s art has disdained such popularizations

precisely because they remove us, through comforting fictions, from our real plight. Here his superior vision and control show their power. For all their hysteria and manipulativeness, commercial films cannot evoke the chilly truths of the final sequence of L’eclisse. Of course, artists are not spokespersons, and still less opinion managers. They are concerned not to exploit a public predicament but to show us its implications in an honest and beautiful way. With an artist’s prescience, Antonioni perceived signs years before most of us had ever heard the word ecology, but his exacting and original vision was not easy to read. The films provided few clues, and practically none of the clues were verbal. The central and distinguishing characteristic of Antonioni’s mature films (so goes the argument of this book) is narration by a kind of visual minimalism, by an

intense concentration on the sheer appearance of things—the surface of the world as he sees it—and a minimization of explanatory dialogue. The rendered surface is eloquent once one has learned to read it, and, even more, to accept its esthetic and narrative self-sufficiency. To the viewer familiar with minimalism in the other arts, especially in literature (as in the work of Hemingway and RobbeGrillet), the demand is not outlandish. But to traditional audiences, for whom story is paramount, the films have seemed troublingly opaque. To say that Antonioni is obsessed with the surface of the world is not to say that his films are unconcerned with the depths of personality —motives, perceptions, the vicissitudes of the emotional life. On the contrary, he emphasizes these precisely by leaving to the viewer the task of inferring them from (often enigmatic) signs. The very effort demanded of the audience ensures a heavy psychological accent. As in the modern novel, the omission of explicit text paradoxically adds implicit meanings. We fill in what is missing, to the limits of our imagination and experience. The demand placed on viewers is even more challenging than that placed on readers of a novel precisely because of the constraints of the medium. Films do not allow us to stop and reflect on what we have read: the projector, not our eyes, controls the pace. So reflection is deferred, and visual attention and

memory are exercised by the deferral. |

INTRODUCTION 3 Antonioni took a long time to learn how to render the effect of surface — fifteen or more years and no fewer than five feature films. Though his early work showed promise, his later artistry is very clearly the result of effort and experimentation. He is a made, nota born, artist. He had to free himself of conventional

cinematic means of rendering narrative, especially in respect to dialogue, conventional sound effects, and commentative music. We can see this development beginning in the first films (Chapter 1). Flawed as they are, they show an acute sensibility struggling to master the medium. The first unqualified success is // grido (Chapter 2), which serves as a bridge to the great films of the late 1950s and the 1960s—L’avventura, La notte, L’eclisse, and Il deserto rosso (Chapters 3-6). With Blow-Up (Chapter 7) Antonioni enters a new, international phase. His style secure, he takes up new themes—the problem of the visual perception of reality, especially as it touches the artist (Blow-Up), political revolution (Zabriskie Point, Chapter 8), and personal identity and death (The Passenger, Chapter 9). His last two films (// mistero di Oberwald, Chapter 9, and [dentificazione di una donna, Chapter 10) also show movement into new realms, both thematic and technical. In describing this development, my focus is primarily on the films. I introduce few biographical details—only those that directly pertain to Antonioni’s evolving art.* But I do quote extensively from Antonioni’s highly articulate writings and interviews, since they provide an excellent and revealing commentary on his intentions and method—one that the English-speaking reader may not know. The amount of space devoted to each film in the following account only partly reflects my feeling of its importance in cinema history. I have discussed at length several lesser films that cannot readily be seen by American filmgoers—the “Prefazione” to / tre volti entitled “Il provino,” Il mistero di Oberwald, and Identifica-

zione di una donna. The discussion is proportionately shorter concerning films like Blow-Up that have been widely seen and discussed in America.

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1

Early Films

| DOCUMENTARIES Although he had written screenplays for feature films as early as 1939, Antonioni started his career with short documentaries. The experience was decisive: L’avventura is inconceivable without its shots of ordinary Sicilian life, as is La notte

, without those of the Milan suburbs or L’eclisse without those of the EUR section of Rome. Antonioni’s first documentary was Gente del Po (People of the Po), begun in

1943 at the time and near the place where Visconti was shooting Ossessione, a film that influenced at least two of Antonioni’s own films. Only parts of the original footage escaped the war, and Antonioni was not able to finish the film until 1947. In 1948, he made another documentary, N.U. (short for Netteza urbana),

about the street cleaners of Rome. He made several more documentaries — L’amorosa menzogna (The Amorous Lie, 1948-1949), on the fumetti, the comic strip—like photoromances popular in Italy; Superstizione (Superstition, 1949), on superstitious practices in the Italian countryside; Sette canne, un vestito (Seven Reeds, One Suit, 1950), on the manufacture of rayon thread; La villa dei mostri (The Villa of the Monsters, 1950), on the statuary in the Villa Orsini in Bomarzo; and La funivia del Faloria (The Funicular of Mount Faloria, 1950), on the funicular railway near the town of Cortina d’ Ampezzo.' Gente del Po and N.U. provide dazzling early evidence of Antonioni’s powers. Though they do not experiment with narrative structure, they evoke an unmistakably Antonionian mood. The explanatory voice-over is used with restraint; the images more or less speak for themselves. Each film beats to the rhythm of the life that it portrays. In Gente del Po, the camera follows the slow movement of the river down to its wide mouth at the Adriatic, and the very images are regulated by that irrepressible current. The river is broad, opaque with silt, “as flat as a span of asphalt.”” It dominates not only the vistas but also the quality of everyday life in “an impoverished country, where everything flows slowly like the seasons, like the river.” Antonioni’s camera captures that movement with broad, slow sweeps 5

6 EARLY FILMS |

ee i Ee etl | Frame | : and countersweeps or holds on slowly drifting boats. Every image is referred back to the river’s blank, noncommittal dominance—bargemen loading their boats, field hands threshing and reaping, couples courting, housewives washing, cooking, nursing, shopping, or just standing. The whole life of the river vibrates and pulsates in clear though flatly lit tones. Preferring the visual image to the soundtrack, Gente del Po shows the first evidence of Antonioni’s lifelong effort to uncover the meanings of things beneath the mystery of their appearances. N.U. also finds a rhythm in its subject—a day in the life of Rome’s sanitation workers, who sweep away as the busy city whirls around them. The film empha-

sizes their “invisible” omnipresence. Antonioni asks us to take a slow, steady look at the world around us, to forget our ordinary preoccupations, and to contemplate that which lies slightly athwart them. Though the film begins at dawn and ends at dusk, its principle of arrangement is geographic as well as chronological. First we see a worker alone in the Piazza del Popolo, then one in the Piazza del Quirinale, then one against San Pietro, another against the bells of Trinita dei Monti, and so on. The film reverses ordinary travelogue interests: however variegated the brilliant Eternal City may be, the street cleaner is everywhere, invisible to the populace and indifferent to the landmarks yet ironically essential to them,

to Rome’s nettezza, its propriety. We see him, humble, modest, even docile, working alone or with a fellow worker, behind a broom, followed by a truck. We see him eating against a wall or taking a postprandial nap. We see his efficacy and modest technology. We see him feeding garbage to the pigs. Gente del Po and N.U. already convey the tensions of Antonioni’s later career. Only hasty readings of these films interpret them as criticisms of the social system. True, there are sad images: mothers and babies endure the elements; workers drink milk out of metal pails, fetch morsels from a garbage can, or eat their

EARLY FILMS 7

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°

EARLY FILMS 33 LE AMICHE (1955):

Adventure in Literary Adaptation Le amiche (The Girlfriends, 1955) is Antonioni’s first film to rely on an important literary source, the novella “Tra donne sole” by the gifted novelist Cesare Pavese.” The resulting film is somewhat more realistic than La signora senza camelie, but it does not entirely avoid sentimentality. Pavese’s novella recounts the adventures of Clelia (played by Eleonora Rossi Drago in the film), a successful young businesswoman from the lower classes of Turin, who returns to her hometown to open a branch of the fashion salon that employs her in Rome. In first-person narrative, she tells how she fell in with a rich young socialite, Momina (Yvonne Furneaux), and her circle of women friends—the frivolous Mariella (Annamaria Pancani); Nene (Valentina Cortese), a potter; and Rosetta (Madeleine Fischer), who at the outset of the story has just attempted suicide. Despite active socializing, Clelia manages to renovate the salon in time for the grand

opening. During the course of this effort, she finds herself attracted to Carlo (Ettore Manni), the lower-class foreman of the workers decorating the salon. But when it comes time for her to return to Rome, she does not hesitate to do so. She has simply grown too used to an independent life to conceive of settling down now. Nor does she regret leaving her Turinese friends, especially after Rosetta succeeds in killing herself on a second attempt. The screenwriters, Suso Cecchi D’Amico and Alba De Cespedes, to whom Antonioni evidently turned as experts in feminine psychology, made some crucial

changes in Pavese’s story that compromised its cool, even bleak tone. In the novella, Rosetta kills herself out of sheer ennui and disgust for the life that she and

her friends live. (Clelia rejects as stupid the explanation offered by others that Rosetta suffered from guilt over a brief lesbian experience with Momina when they were younger.) In the film, however, she kills herself out of unrequited love. Once again, as in La signora senza camelie, the implication is that for a woman without a man, life is not worth living. (Perhaps this modification was introduced to counterbalance Clelia’s decision to give up her Turinese suitor for business life in Rome, an act that may have seemed incomprehensible to Italian film audiences of 1955.) Indeed, in the novella, the love issue is inconsequential, whereas in the film each woman has to have specific romantic interests, and the geometry of the resulting relationships has to be clear; triangles are favored. Further, in a theatrical but relatively unmotivated scene, Clelia attacks Momina publicly for having *killed”’ Rosetta with her cynicism. But that confuses the issue of unrequited love—Rosetta, after all, drowns herself, the montage tells us, immediately after Lorenzo rejects her. Again, the film relies on the kind of gossipy plotting that we associate with women’s magazines, not with Antonioni. Moreover, the film fails to preserve the interesting decadence of Pavese’s novella. Some important events are bowdlerized: for instance, in the novella, the architect (Franco Fabrizi) who

34 EARLY FILMS hangs out with the group, just after making love to Momina, seduces Clelia, who is too tired and too bored to resist, in the bed that Momina has just left. The film makes no mention of Clelia’s sexual activity. Her relationship with Carlo resembles the theoretically erotic but actually platonic affairs that were commonplace as vehicles for American stars of the forties. Clelia is made more sympathetic in other respects as well. She becomes Rosetta’s protectress, taking the train back to Turin from the seaside in order to keep Rosetta from harming herself. However, the ending of the film is excessively emotional: Clelia and Carlo are supposed to say goodbye at the train station, but

he hides behind a sign, presumably to make-things-easier-for-her-by-acting-asif-he-didn’t-care-so-that-she-would-think-he-wasn’t-worth-it-after-all—an all too familiar convention of melodrama. An issue that Pavese’s story never intended to ‘raise is that of divided loyalty. But that seems to be the film’s major theme, and it deprives Clelia of the strength she derives from her profession. In Pavese’s novella, Clelia leaves Carlo because she prefers her career. In the film, Antonioni and his screenwriters supply a scene which suggests that Clelia’s decision is based ona sense of the differences in their levels of culture and sophistication. Whence this sense of “differences” ? Carlo proposes furniture for the salon that is completely inappropriate. Thus, their love cannot be. Though it is clear that Antonioni was attracted to Pavese’s realism, especially

to Pavese’s courage in reporting the inconclusiveness of the emotional life, he seems to have accepted all but two of the D’ Amico-Cespedes modifications (one is the scene on the beach discussed below).2° The film seems to have been the last that he produced in this manner. Beginning with // grido, improvisation on the set—using the scenario as notes rather than as an ironclad contract that had to be fulfilled —was to become his normal working practice. Still, the theme of what Antonioni came to call la freddezza morale—moral coldness—is at least partly communicated in this film, in the figure of Momina,

who bitchily dominates the group scenes; in Mariella; in the architect, well played by Franco Fabrizi, the cowardly Fausto in Fellini’s J vitelloni; and in Nene’s husband, the painter Lorenzo, played by Gabriele Ferzetti, soon to be Sandro in L’avventura. But the acting is not up to the level of the later films. The women are difficult to distinguish: they dress too much alike and resemble each

other physically. Antonioni seems to overemphasize the homogeneity of the group of friends; perhaps he wanted to show that a decadent society is also a homogenizing one. But the tough appearance of the women is at odds with the film’s plot and theme. The visuals are ahead of the story, looking forward as they do to the more persuasive evocation of the Italian alta borghesia in L’avventura. Whatever its problems of content, the style of Le amiche shows considerable development over La signora senza camelie. With a gifted new cinematographer, Gianni di Venanzo, who was to work with him on his next four films,” Antonioni

made rapid strides toward the visual perfection of the films of the sixties. Le amiche simply looks better than any of his films since Cronaca di un amore and

_ NU. The resolution of the images is sharper, and the compositions are more

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e9e.se

the more poignant and ironic. € cannot move into dimension, into depth.

or alter the line he must follow. € river Carries to its local end and then returns

1m to ihis @ feetornis woman. ll hsma at eatha the feet of his “on ly”

I griaos interior shots also use verticals to suggest entrapment and the Darri-

ers between peopie. in tneir house, oO an ma are Separate y agoorirames

IL GRIDO 49

oe | ee CU CM ENE Frame 26 Frame 27 and the like, and a glass door is used to show how the child, Rosina, is trapped in the impasse between her mother and father. In his final plight, Aldo (like Riccardo in L’eclisse after him) finds himself momentarily stopped by a barred gate. As asymbol, the bars would be heavy-handed, but as a metonym their motivation is amply justified.

Of course, Antonioni did not limit himself to vertical lines in his choice of compositional features. In his customary “‘virginal’’ way, he found objects whose

shapes made fascinating contributions to the rest of the picture. For instance, when Rosina stumbles upon her father and Virginia making love in a ditch, she moves into a space filled by the huge wooden reels used for transporting utility cables, now empty. The reels are not symbolic of anything in particular, but their shapes and size seem just right to mirror the child’s shock and consternation. And in the sequence in which Aldo reminisces to Andreina about his life at home, Antonioni places two wooden decoy ducks next to them on the river bank. Again, it would be absurd to find symbolism in the ducks, but at the same time they seem oddly suitable to the situation. Andreina shows childlike interest in them. They seem to represent some absurd parody of the kind of family life that the two could have together; they also evoke the frivolous pleasures of the rich from the perspective of the down-and-out. Antonioni’s camera continues to move prodigiously in this film; he is still committed to the long-take style and to shooting in depth. The distance of the camera from the actors continues to be a function of the locale: for plein air shots, the distances are considerable. The most evocative are the long and extreme long shots of Aldo against an empty landscape. As for interiors, the distance between camera and figure in any one shot seems determined by the contingency of the actors’ movements. It would be difficult to label many shots as close-ups or medium shots. The lighting in the film is perhaps its most striking visual effect. There are no pure whites and only occasional pure blacks—almost everything is gray, though in myriad tones. Clearly, the wintry light has been captured by a visual artist who knows it in his bones, from his own childhood in Ferrara. Some of the loveliest

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66 THE GREAT TETRALOGY

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Of all the images in the concluding section of the film, that of the unfinished building veiled in straw matting is the most disquieting. What it seems to say is, “T represent the future, not only its architecture but all its shapeless menace.” It reminds us of Yeats’ nameless beast slouching towards Bethlehem to be born. There is no turning back to the comfortable, familiar shapes of the past. The only honest thing is to acknowledge our apprehension of the future, a future sparked, for better or for worse, by the incredible energies of science and technology.”

EMBODYING THE THEMATIC:

The Rejection of Symbolism So the films of the tetralogy are indeed “about” something: they are about the anxiety that the world has felt since the fifties. But in a way foreign to commercial

movies of the sound era, this condition is shown primarily in images. It is not spelled out in dialogue or connoted by mood music. It is always depicted, never pronounced. It occurs in visual details of plot, behavior, and composition so veiled and subtle that Antonioni risks making the audience impatient and bored. _ The audience could well protest that there is no action. It would be more accurate to say that the film requires the audience to reconstruct the states of mind that prompted what action there is. Not every moviegoer can or wants to perform such

PLOTS AND THEMES 67

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labor, but the numbers are sufficient to persuade retrospective cinemas, art museums, college film clubs, and the like to keep on screening the films. The particular kind of interpretation demanded by the tetralogy is that which uncovers significance in the minutiae of appearance. Antonioni’s art resembles that of a novelist like Virginia Woolf, except that her medium, in its easy access to the minds of characters, permits explicit psychological interpretations of the text. A Clarissa Dalloway or a Mrs. Ramsay or a Lily Briscoe or the narrator, for that matter, can verbalize the significance of someone’s faint grimace or slight hand movement. But those who view a film by Antonioni must do that forthemselves: __ they must learn to read the meanings in appearances—Anna’s enigmatic smile, or Lidia’s close observation of Valentina as she reads her book at the foot of along Staircase, or the movements of the twig that floats in the cistern at the fatal EUR

street corner, or the intense red of the docked freighter in the penultimate se- — quence of // deserto rosso. So much ts thrown back on the viewer’s interpretative ability that it may seem unfair to accuse him or her of overinterpreting. But that is what many critics have done. So it is essential to establish outer as well as inner interpretational limits. The films are open texts, but that does not mean that they are open to any interpretation. The problem is particularly acute for viewers disposed to finding symbol or metaphor in the slightest textual uncertainty. For example, the toy rockets launched in a scene in La notte were all too quickly labeled phallic, and Antonioni

was accused of “heavy-handedly” showing that “sexual restlessness” drove Lidia out into the streets. One critic even argued that the film should have communicated this feeling “directly,” that is, unsymbolically. The urge to see symbolism

68 THE GREAT TETRALOGY prevented more sensitive interpretations of Lidia’s state of mind. To argue that she is looking for sex, that she is “‘cruising,” is to misread her character by falling into the very trap of erotic obsession that, as we have seen, is one of Antonioni’s themes. Lidia clearly has other things than men on her mind. In the scenario, she says to Giovanni over the phone: “I’m in front of the Breda plant. In the same old field, there are children playing. I’m sure you'll enjoy that. Imagine, they have rockets. They fly way up. It’s beautiful. Don’t worry, nothing’s happened to me. No, no! I told you nothing happened! Come pick me up, will you?” '” Then she returns to the field, waiting for him to arrive. The scene is described as follows: The rockets are very well built. They shoot up quickly into the sky to a considerable altitude, to the children’s cries of delight. But the two rockets with which the boys are playing are apparently the last ones, as it is starting to get dark. The children pick up their equipment and leave. Lidia is alone, standing in the field. The sunlight is nearly gone, and the scene again turns squalid and desolate.'®

Given the context, even the most determined Freudian should find little more than ordinary sublimation of sexuality in a harmless, even creative hobby, especially when rocket launching is compared to the sullen and ugly behavior of the young

thugs in the previous scene, who were methodically beating out each other’s brains. The youngsters with the rockets have transformed their sexual drives into constructive, quasi-scientific activity. What is important is not the drive but the way it has been made socially useful, even exciting, by the brave new world of technology that Antonioni has celebrated in other contexts, for example, in the colors and shapes of industry in // deserto rosso. Lidia’s part here, as elsewhere in her sojourn, is that of silent and objective witness to the sights of the city. To find sexuality so indiscriminately in her behavior is to violate a larger and more important contextual meaning, which is confirmed by the expressions on her face, the movements of her body, the angles and distances from which she is photographed. Another mistake is to find too precise a tenor in images that bear only a vague or contingent significance. In L’eclisse, rustling trees are juxtaposed often enough _ with Vittoria to suggest an association, but it is, I believe, far too explicit to argue that they symbolize the “agitation of her own thoughts.”’® A symbol or metaphor functions as an independent sign, that is, a something that can stand for another thing when that thing is absent. But when a single rustling tree is seen in the coda portion of L’eclisse, the thought that comes to mind is not, “Oh, that stands for Vittoria’s agitated thoughts” but rather, ““Where’s Vittoria?” The appropriate rhetorical figure is not metaphor or symbol but metonymy, the figure of association or contiguity, which, as Roman Jakobson has argued,”° occupies the semantic

pole opposite metaphor. , |

As we shall see in a later chapter, Antonioni works assiduously on his visual juxtapositions of people with things and of things with other things. Backgrounds are never fortuitous: they provide implicit comment on the characters’ actions or vice versa. At the beginning of L’avventura, Anna finds her father discussing with a worker the encroachment of the trashy housing development onto his beautiful estate. The restlessly modern Anna is identified with the transitory, noisy new buildings, while her father is matched with the magnificent dome in the distance.

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Architecture and dialogue provide co-metonyms of the theme. They do not abstractly symbolize flimsy modernity: they are themselves concrete examples of it.

Similarly, in Lthehgraceful ful old behind Lidi h atdtheh imilarly, in La notte, old building building behind Lidia as she stands

window of Tommaso’s sterile hospital room is metonymic of the waning of old

70 THE GREAT TETRALOGY values. Itembodies them. Antonioni did not just think up that building, the way Robert Burns thought up the rose or Donne thought up the compasses. Metaphor depends on the sudden and unexpected perception of similarity. Metonymy does not, because it is purely associative, purely tied to the real. The idea of traditional values is reinforced by Lidia’s old-fashioned flowered dress, which strikes a quaint and even discrepant garden note in Milan’s barren streets. Neither building nor dress is an abstract symbol or concretion taken from another semantic sphere, as are the rose and the compasses. Metonymy is at once a figure for and a literal part of its referent. Hence, it reinforces the actuality of the world of the text. Antonioni’s very manner of working, his reliance on the inspiration of actual environments, ensures the supremacy of relational metonymy over substitutive figures like metaphor and symbol. To argue that Antonioni’s images are not usually symbolic in the ordinary sense of the word is not to suggest that they are not motivated by thematic considerations. Motivation is always there, but it is subtle and unassertive (the shot of the exploding desert mansion at the end of Zabriskie Point is a rare exception). And it is always rooted firmly in the complex tissue of event and circumstance that constitutes the film. Consider the shot on the train in which Claudia refuses Sandro’s overtures and implores him to get off at the next station. The camera cuts to a view of the beach and the surf running alongside. It would be forcing acategory to say that the running surf signifies —to Claudia or to us—the mutability of life (or of anything else). The sea, of course, is a traditional symbol of mutability. But this is a particular sea, into which Anna has disappeared and where she still may be. So its connection with Claudia’s thinking and situation is basically pragmatic rather than figurative, or it is only incidentally figurative. The film is not “stating” that life and the sea share the property of mutability and that Claudia sees her own fickleness or “fragility of emotion” in it. The association is lighter, more tangential, more allusive. And unlike a genuine symbol, it does not explain the

inside by referring to the outside. |

In short, Antonioni’s images always reverberate with the charge of the whole film, and it is a mistake for interpretation to reduce them to mere symbols. Valentina’s floor may resemble a checkerboard and hence suggest the hazard that Giovanni will incur by dallying with her, but it remains obdurately a floor. Whatever there is of phallus or atom bomb in the water tower that looms so visibly outside Riccardo’s window must not obscure its own solid weight as an object that is part of modern life. To reduce Antonioni’s richly envisioned objects to abstract signs in the interests of discovering what they are “‘about’’ would be as much an es-

thetic desecration as to project his films with a dim bulb. ; The titles of the films, however, are verbal, not visual, indices, and they do work in a symbolic way. We see no literal desert in // deserto rosso, no literal eclipse in L’eclisse, so efforts to ascertain the meanings of these expressions on symbolic grounds are clearly justified. The words The Adventure signify —in the superficial travel bureau sense of the word—an eventful trip on a yacht. At a less superficial level, there is the adventure of Anna’s disappearance. Then there is

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yw OR eg I I i; © ed eee a es ~ w/e rye. CU et(‘ Sarees me. bet . § r+ Frame 59 Frame 60 | The camera identifies sympathetically with Giuliana’s own sense of her plight as often as it likes, always without giving up its prerogative as an independent agent. The situation is very much like the sympathetic use of indirect free style in such ~ novels as Mrs. Dalloway*®—hence the aptness of Pasolini’s preempted literary

critical term free indirect subjective.

v

The Great Tetralogy Settings and Environments

Setting is so important to Antonioni’s mature style that it needs a chapter of its own. By Antonioni’s own account, his ideas for films are born of visual epiphanies, fleeting but revealing glimpses of the world around him. He is struck by the sight of two nine-year-old girls playing under the rotunda of the Grand Hotel at Rimini, one of them singing “Oh, such love, oh, such suffering” as she circles around on her bicycle. Or of two thousand garbagemen meeting silently in the Baths of Caracalla as Rome stands “flooded with rubbish, piles of colored filth on the street corners, an orgy of abstract images, extraordinary pictorial fury.’”!

Such glimpses are to Antonioni seeds of visual reality—concentrated, pregnant, difficult to explain or paraphrase. They might or might not find their way into a film, but if they do, they preserve their integrity against the absorbing pressures of narrative. Hence the unforgettable flagpoles creaking in the breeze in L’eclisse, or the church bells in Noto in L’avventura, or the humming radio astronomy towers in // deserto rosso.

OBJETS TROUVES Antonioni has described his process of discovering photographable objects with great explicitness. For Piero’s ancestral home, the scenario of L’eclisse had asked for a typical house of the Roman bourgeoisie. The entrance hall is dark, large and cool. Vit-

toria, coming in from the brilliant light outside, hesitates as though the inside of the house, a presentiment of it—those high ceilings, rooms leading to other rooms, the black heavy furniture, the profusion of knick-knacks on it—repelled her. She even sits down on , a chest next to a vase with two umbrellas, her hands between her knees .. .

In the actual house that Antonioni found: Vittoria goes in, pauses to look at an old painting on the wall, continues toward the inner rooms, stops before a window to look at the wall beyond the courtyard, where a woman appeared in the black frame of another window. The woman disappears almost immedi-

99

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ately as though swallowed by the shadows. Vittoria turns back toward the chest. Piero is standing next to the door leading into the living room. Why did I change it? Why, because when the scene was composed we had no idea what Piero’s house would have been like, so that the screenplay was of value to me only as a psychological note. And even then, only to acertain point.”

The objects found in the actual house not only suggested details of plot and character but caused existing details to be rewritten. ‘Such uncommented visuals attentuate the meaning. The text is opened: the other window offers a glimpse of another life, one rendered mysterious by not being explained. Who is this woman suddenly “swallowed by the shadows’’? Is she there to illustrate the kind of traditional, restricted, housebound role to which Vittoria would never agree? We can imagine (though we cannot see) Vittoria shudder as she meditates the fate of the middle-class matron. But it is impossible to know her feelings for sure. We are not supposed to. The contingency of incidental objects photographed with loving care opens a world that we must contemplate, not categorize.”

Sometimes the found object comments on the story in a more lighthearted way, as when we see, from Sandro’s point of view, an old master painting in the lobby of the luxury hotel in Taormina. The decadence implicit in that depiction of

a patriarch taking refreshment at a lady’s breast is ironically mediated by the

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jaded, complicitous gaze of the young woman, another guest at the hotel. Her eyes convey both boredom and invitation, and though Sandro refuses her, he is soon to accept the favors of Gloria Perkins. The objet trouvé undeniably guarantees the “‘thereness”’ of the real world, not because it is verisimilar but because it really was there. Antonioni did not invent anything: he merely uncovered it. One consequence of this new kind of realism is that the universe is demonstrated to be basically meaningless. For if this bit ofthe world is no less and no more worth photographing than any other, questions of moralistic or psychological commentary cannot arise. “There it is” is allthe film _ is willing to say, “the neutral surface—make of it what you will.” The semantic burden is shifted to the viewer’s shoulders: that is Antonioni’s gift to the cinema.

What Antonioni finds in the environment is immensely rich and esthetically coherent. It is obvious that Antonioni is a long-time student of architecture, and all his films show a keen interest in buildings and public and private spaces. Already in Gente del Po there 1s loving treatment of the fishermen’s houses along the river. A documentary that never got made was to have centered on a specific architectural component. Called Scale (Steps) and published in 1950,* the film would have

102 THE GREAT TETRALOGY been acollection of brief incidents occurring on a variety of stairways. Like Dubliners or the Wandering Rocks section of Ulysses, these incidents would have been epiphanic vignettes of Italian life, everything from youthful professions of love, the chatter of postman and housewives, and the disappointment of an unemployed man who sees a No Help Wanted sign at the top of a steep flight of stairs to

a mason carrying a heavy load of cement up a ladder, a crowd with political placards running up a wide expanse of official-looking steps, and an inmate being dragged up the steps of a lunatic asylum by orderlies. In the early fiction films, architecture was still a traditional feature of verisimi- __ lar background. By the time of the tetralogy, it had begun to play a more promi-

nent and innovative role. In his 1965 interview with Godard, Antonioni said, ‘Whereas in earlier films I was interested in relationships between individuals, I am now concerned with the individual in relation to his surroundings (though not with this alone), which means that I have a very different approach to the story.’”®

Indeed, the story becomes secondary, a consequence, not a cause, of his new interest in the environment. The represented environment may evoke some theme or merely convey a sense of how it feels to be alive and perceptive these days. The shots often express nothing more—and nothing less—than the seeable wonder of existence.

It is hard to imagine a movie in which buildings do not appear. We tend to ignore them in most films as mere background. But in the tetralogy we come to read buildings as architects, urban planners, and designers do. And though the characters do not lose their individual importance, they also function, especially in certain long shots, like mannequins in architectural models.

L’avventura 1s full of architectural commentary. The contrast between the beautiful and solid old buildings and the shoddy new condominiums is conveyed in the opening scene between Anna and her father. And the disaster of Fascist

architecture and planning is documented by the deserted village, a Cassa del Mezzogiorno town near Caltanisetta, Sicily.6 The street scene in the deserted village (see Frame 46, p. 77) evokes De Chirico’s so-called metaphysical period, except that the paintings suggest that the town was once occupied, that the people have gone away and may even return.’ In L’avventura, however, the town looks as

if it has never been lived in, as if some intuition warned the Sicilians to have nothing to do with it. But the true architectural films are La notte and L’eclisse. For the first time, Antonioni virtually reverses priorities. For moments on end, it is the cityscape

that is the true protagonist, and audiences used toempathizing oridentifying with a human character must find their expectations strangely undermined. One learns amore appropriate stance, that of fellow observer of an environment that is subtly inimical. I underline subtly, since. what Antonioni shows is not cataclysmic or even sordid. It is just mediocre, badly done, ill conceived. But that makes it no less ominous.®

The city planning and architecture of Milan in La notte or of Rome in L’eclisse

did not cause Lidia’s and Vittoria’s problems. But personal problems and bad

SETTINGS AND ENVIRONMENTS 103

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buildings and misused public space are all parts of a vaster network of problems facing Western man. Bad architecture is simply one visible, concrete manifestation of the malattia dei sentimeniti. La notte is the most intensely architectural of Antonioni’s films. As the film opens, the camera descends the glass surface of the Pirelli Building in Milan, of all Italian cities perhaps the most anonymous and international. The movement down this space is at once lonely and perversely beautiful. The beauty is that of pure geometry and the smooth perfection of modern materials; the loneliness issues from the lack of human relevance. The absolute and meaninglessly straight lines of the building never reappear in the film, and they are never alluded to by the characters, but they dominate its atmosphere. Since nothing else in Milan is as high, the glass reflects only the city below, from whose business it appears completely divorced. Even the noise of traffic cannot rise high enough to disturb its impersonal and useless tranquility. As Rudolf Arnheim puts it, in a passage that could almost be put forth as acommentary on La notte: Evidently, emptiness is not simply related to the absence of matter. A space on which nothing is built can be pervaded nevertheless by perceptual forces and filled with density, which we might call a visual substance. Conversely the fenestrated wall of a high-rise building . .. may be experienced as empty even though the architect has put something there for us to look at. The effect of emptiness comes about when the surrounding shapes

do not impose a structural organization upon the surface in question. The observer’s glance finds itself in the same place wherever it tries to anchor, one place being like the next; it feels the lack of spatial coordinates, of a framework for determining distances. In consequence, the viewer experiences a sense of forlornness ... A prime source for... perceptual disorientation is the recent fad of reflecting glass walls, which create a surrealistic contradiction between incompatible images. The wall is destroyed, and the reflection shows a space that is not there.”

The slowly descending camera dwells on the interminable monotony of geometric form. Parallel lines will always be parallel: that 1s their destiny. The shot af-

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SETTINGS AND ENVIRONMENTS 105 fords no Chirican perspectives, no shadows, no bugle calls echoing down long colonnades or deserted streets with pennants flapping in the breeze, no ambience of past empires; only the sterile bleakness of outer space, not Star Wars space with its comforting robots but empty lonely zero-degree space. The building, all surface, bears only the most abstract relation to the events of La notte, but it does that uncompromisingly. Consider Frame 64, a production still. The scenario reads: “Lidia. . . reaches a spot where there is an open space between the tall, glass-covered buildings. The

sun beats down on the narrow space. She looks at the patch of sky above the buildings as though longing to flee those oppressive walls.” The composition of the frame is at once beautiful and oppressive —a paradox characteristic of Antonioni. The tiny human figure, sharply foreshortened by the camera’s high angle, amounts

to no more than an eighth of the picture. The figure is the center of convergent straight lines (echoed and emphasized by parallels and perpendiculars) that bound perfect oblongs in various tones of white and gray. The textures of these masses are also relatively homogeneous—all this makes Lidia at once the center of and yet, strangely, irrelevant to the composition. The human being 1s the purpose for which the buildings have been constructed, yet among them she is not only dwarfed but alien, unassimilable. Lidia poses and points her right foot outward like a model, but somehow she does not fit. She is the center, but of what? Do the lines radiate from her, as from a dynamic source? No, the lines target her, transfix her, nail her into place. The huge white block seems to hang there for no other purpose than to crush her. The building pays tribute to the tensile strength of modern materials. It is solid beyond its looks. But it is precisely the look of a building that gives us our sense of security. What good is technology if it only causes unease? The lines are bare and clean; there is no capital, no pediment; concrete sprouts from concrete; it is hard to tell where the building stops and the ground begins. The unwillingness of this building to mark its own limits dooms it to ambiguity. Concrete from concrete? Is there really earth underfoot? Or is the tiny plot of grass an ironic subterfuge? For all his theoretical functionalism, the architect seems to have forgotten whose functions

were being accommodated. Nor has he remembered that people need privacy. There is a fine shot of Lidia unwittingly disturbing a man at work who is separated

from the street only by glass. ,

Poor Tommaso has some respite from the architectural sterility of his hospital room. Through his window, he can see a comfortable old building with round arched windows in a vaguely Venetian style (see Frame 41 above). It is no accident that Lidia comes to stand in the window facing that building in her traditional print summer frock. It is the same Lidia who later is to experience nostalgia when she finds herself in the old neighborhood where she and Giovanni first lived together and who ends the film with her reminiscences of Tommaso’s youthful love

for her. The yoking together of Lidia with architectural tradition is one of the major motifs of the film.

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reminded of Brecht’s dramaturgy of alienation, but Antonioni’s inspiration comes from graphic design, not from theater. Why does he do things this way? As one of my friends** observes, the cool mise-en-scéne may function precisely to keep a lid on things. A Pandora’s box of seething emotion lies just behind these overcareful compositions. It is not at all surprising that the films make many in the audience uncomfortable. They may say they are bored, but one suspects that they are uneasy, all the more so because they cannot say why.

, The reduction of three dimensions to two, to the plane, also implicates the : sense of touch. If we are at a distance from things (and depth implies distance), the eye colludes with the tactile sense to reassure us: “It is upon the certitude of tangible impermeability that . . . the conviction of material individuality also depends.” The absence of contour and dimension makes imaginative as well as real touching difficult. To touch is to confirm, and people who are out of touch have a desperate need for tactile reassurance. Giuliana clings to walls, expresses terror that the ground is giving way under her feet, wants to have everyone who has ever cared for her surrounding her like a wall. It is easy to believe that she would grab the sandwich out of the worker’s hands just to touch something real and to confirm her touch with her mouth, testing reality the way infants do. Her fright reaches its peak when she sees friends and husband disappearing into and emerging from the billowing fog. Even the eye as surrogate for the hand can no longer be trusted to reach out and touch what to her are life’s only supports. In La notte, the nymphomaniac is literally dying to touch someone. Her room is filled with cuddly stuffed animals. She clutches anyone within reach. Giovanni staggers out of her room, repelled by the sight of her wildly kissing the hands of the nurses who restrain her. The need to touch—for the filmmaker himself to stay in touch—makes materiality, “tangible impermeability,” central. The touched comes to overshadow the touchers. What interested him in 1964, said Antonioni,

122 THE GREAT TETRALOGY was putting the character “‘in contact with things,” because it is material objects that are important.”* I think he meant contact literally, not metaphorically. The flatness of many scenes in // deserto rosso was effected by using the telephoto lens—not to bring distant objects closer but to reduce depth of field, optically to flatten the distance between foregrounded figures and backgrounded objects. Antonioni told Godard: “*I used the telefoto lens a great deal so as not to have any depth of field, which is in itself an indispensable element of realism.”"’ He also used strong homogeneous color to promote the flat effect—pure, unshaded, uniform color, unattached to objects.

Though troubled characters like the nymphomaniac and Giuliana want to touch, even to grasp the flat walls behind them, they never succeed. There is nothing to hold on to, no traditional handle that will “give them a hand.” Psychologists of perception have shown that an object displayed against a uniform back_ ground, even a simple line, does not strike us as lying in the plane of that back-

ground but as lying upon it. “The empty environment does not border the line —the way two floor tiles border each other—but continues underneath with-

out interruption.”’*® |

ee

Antonioni’s new concern for the plane was accompanied by a new interest in Close-ups, to use a traditional term for an untraditional effect. In L’avventura, these shots make no concession to standard Hollywood matching: they do not cue reactions, inserts,” or the like. They seem random, as the actors move into and

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‘““IL PROVINO”’’ AND BLOW-UP 145 fishnet dress; the not quite comprehensible neon sign above the park.” In Tho-. mas’s own disappearance at the very end, which Antonioni has called his “‘autograph,” the theme of visual ambiguity transcends the mere story and enters the very structure of the discourse. But it is the blowup sequence itself that most brilliantly advances the theme. We are confronted with no less than three orders of phenomena: the events themselves, that is, our own perception of what occurred out there in the park; the photographic prints and blowups of details of these prints that Thomas makes in his studio; and the crime that he reconstructs from the photographs. These phenomena are worth close inspection, but they are complicated, and we will require labels to keep them straight. Let us number the actual events that we can see for ourselves: 1. The Man and the Girl climbing a wooded slope; 2. The Girl pulling the Man into a clearing in the park, her back sportively bent and her laughter clearly audible; 3. Another view of the couple, now farther into the clearing; 4. The couple embracing; 5. The couple separating and the Girl walking around looking into various corners of the park; 6. The Girl drawing the Man under a tree opposite the copse where (we later learn) the gunman hides; 7. The couple seen from closer in and laterally, no longer from Thomas’s point of view, then the Girl running toward him in the deep background; 8. The Girl, at the top of the stairway, holding her hand in front of her face as if

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Frame 102

“IL PROVINO”’’ AND BLOW-UP 149 (d) A secondary blowup, very grainy in texture, of another sector of (b): the piece of copse at which the Girl is staring; a fence runs along the base, and at first glance there is nothing more discernible above the fence than blotches of black, gray, and white; (e) The Girl holding her hand in front of her face (corresponding to actual event 8); (f) A secondary blowup of the Girl’s first glimpse of Thomas;

(g) A secondary blowup of the Girl biting her fingernail and the Man looking perturbed, obviously because they now understand what Thomas has been doing; (h) A secondary blowup of the Man alone looking at the Girl and Thomas.

SEARCH FOR TEXT I have described these photographs as forming a narrative array, a “textualization” or “entexting” of what would otherwise be arandom group of photographs. Indeed, much of the film can be seen as an account of the artist’s effort to textualize a puzzling experience. In this instance, the text is narrative, though other types—lyric, exposition, description, to name only three—are possible. Narration is both the readiest and the most dramatic way of explaining an otherwise incomprehensible group of events.'’* Though photographers, like painters, generally concentrate on single pictures that say “everything,” Thomas likes to work with sequences. The fact that Thomas narrativizes the park sequence recalls Antonioni’s other exploration of the process of making visual narrative, L’amorosa menzogna. Thomas’s work also resembles that of making a narrative movie in that it is a kind of storyboard. Thomas’s efforts obviously relate in some importantThomas way to Antonioni’s laborsinasseveral a maifer of feature reconstructsown the crime stages. In thefilms.** first, he tries to understand what happened simply by connecting photos (a) and (b). But he notes some-

thing strange in the Girl’s expression in (b), and so (stage two) he makes the secondary blowup of her face (c). Thus (c) functions like a close-up insert in montage; it does not signal the next narrative moment, but (like the close-up on the spy’s missing finger in The Thirty-Nine Steps or the poisoned cup in Notorious) it calls attention to a detail crucial to the plot. Thomas scans (b) for the reason for the Girl’s consternation. He traces her eye-line toward the copse; not finding anything there, he shrugs his shoulders as if to dismiss the matter. But (stage three) he cannot resist trying again. A magnifying glass helps him find a clue in (b), which he marks with a white grease pencil. He blows it up into (d), which contains two suspicious blobs, one above the assassin’s face and the gun in his fist. Thomas’s moving gaze is communicated by two pans along the studio wall—left to right, then back and left to right again. The repeated movement of the camera is an important signal of Thomas’s struggle to textualize (another is

counting off the photos on his fingers). The second pan also entails a forward track by the movie camera to convey Thomas’s own movement toward the pho-

150 | ‘IL PROVINO”’’ AND BLOW-UP ,

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, THE PASSENGER AND IL MISTERO DI OBERWALD 209 Nothing has changed at all. By deleting such lines, Antonioni muffles the ironies that make of this play, as they do other Cocteau plays, something more than mere melodrama. Especially the final irony is missed: in the stage play, the hero falls the full length of the royal staircase, which comes to symbolize the vast distance of political reality that separates the lovers in death as it has in life. In Oberwald, Antoniont’s decision to show the lovers dying so close together that their fingers

fail to touch only by inches seemed more risible than pathetic (at least to the Berkeley audience with whom I saw it). ‘ But Antonioni has lost none of his compositional gift. Often the placement of a face in the frame is as precise and delicate as in a canvas by Titian. The castle and the baroque furnishings are appropriately lavish, even if nothing prompts the eye

to linger on them for their own sake as instances of the imponderable surfaces of life. The montage is traditional, with many close-up shot-countershot sequences. There are no temps mort effects despite a sustained interest in the architecture of the castle. Of course, it is unfair to expect that kind of effect in this kind of film. Given the requirements of this kind of film for seamless shooting and editing,

Antonioni has done an acceptable, even elegant job. He integrates the backgrounds in imaginative if traditional ways. For example, as events reach their climax, the queen, having provoked Sebastian into a renewed desire to kill her, passes beneath old master paintings that admirably reflect and comment on her situation. But the dominant principle is to use setting as verisimilar plot support. It is beautiful, but not Antonionian in the sense that the film world has come to understand that word.

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210 THE PASSENGER AND IL MISTERO DI OBERWALD

THE NEW TECHNOLOGY Antonioni has said that Oberwald served as a pretext: the “popular fable” provided him with a simple narrative, with uncomplicated characters and straightforward action, to ensure that the audience would have sufficient leisure to appre-

ciate the new television color effects.*’ It is not clear why that should be necessary, since his first venture into color in /I/ deserto rosso, the subtlest of movies, was so artistically successful. If all that he meant was that he wanted to reach a large audience, it seems sad that he felt he should have to at this stage of his career.

The means by which magnetic tape is transferred to film entails a technical discussion beyond my competence. Suffice it to say that Antonioni finds television production most satisfying, especially when it comes to color composition and visual mixing in general. The chief advantage, he feels, is its greater degree and immediacy of control over the registration of images. Obviously, it must be very exhilarating for a director interested in engineering and science to utilize technical advances to satisfy artistic needs. The technique of multiple cameras controlled by a central console at which he can mix colors and angles and distances provides Antonioni with what he has always wanted: a means of seeing exactly what is being shot in the very process of shooting. If he does not like what

he sees, he can shoot it again, without having to wait for the laboratory to develop the rushes. Nor is television production the plaything of the weather, as film is. Antonioni is excited by the prospect of being able to revise the film as it is

being shot, of inventing it on the spot. In conventional filmmaking, he says, before shooting a sequence, one first tries to envision it as a theoretical problem in need of a precise and often complicated solution: a tracking shot here, a pan there, a transition from long shot to close-up, and so on. But when one works with television, various images are delivered in a simultaneous visual reading. The director can choreograph and blend the efforts of his cameramen, with whom he communicates by microphone, to obtain a synthesis that would otherwise be un-

imaginable. There is also a considerable speedup in production time: Oberwald was shot in sixty-four days. The proof, of course, is in the pudding —not in its mixing but in its eating. For

all Antonioni’s enthusiasm, it is difficult to see the film’s being very popular either with his fans or with the mass audience.*® Certainly the color, as interesting as the process may be, will not stimulate the popular imagination; indeed, some of the effects are so subtle that many people will not notice them. A defender of Antonioni might respond that he was looking for more subliminal effects anyway, and they do occur. The colors change sometimes imperceptibly and in ways that we are unused to, and doubtless it will take a while to appreciate them properly. The trouble is that this is a field in which the public has been overstimulated for years. Television colors are neither as strong nor as varied as what is offered by

Technicolor, Eastmancolor, Deluxe, and other processes. (I am not saying that

THE PASSENGER AND IL MISTERO DI OBERWALD 211 this is necessarily bad; I am simply talking about potential mass audience responses.) Further, they are familiaras television colors, and so they set up certain

unwanted associations—one knows that lavender only too well from tedious nights spent in front of the tube. Certain other undesirable artifacts also arise. For example, the outlines of moving objects tend to smear, especially against a light background. A ghost moves ahead of the image itself, which is etched for a split second as the image races to catch up. Within the area of color blending, it is true that Oberwald does things that have never before been seen on the screen:

- landscape and buildings convincingly brighten with the arriving morning, or blood from a decapitated chicken darkens from red to black before our very eyes. These effects are less flamboyant than a verbal account suggests. And other color changes are so subtle that one is not sure exactly what has happened. For instance, on a blank wall of the castle, a faint pattern begins to appear and then changes: from a glacier to a mountain landscape to an abstract design. In several shots of the large sepia photograph of the dead king, it is less that we see a color change than it is that we sense it; something odd is happening, especially in the moments just before Sebastian enters from behind the portrait and collapses on the floor. Antonioni explained that the image of the king was minutely enhanced: all that happened was that the dark tones became a little stronger, and the landscape in the photo was colored faintly. Similarly, to call attention to the dueling pistol at

the moment when Sebastian grasps it to end the queen’s life, the brown background darkens slightly so that the outline can stand out more intensely against it.

Doubtless other subtle changes occur elsewhere in the film that a concerted search could identify. But audiences used to bravura color effects may well feel frustrated, especially if they are led to expect something unusual. Since these effects are so subtle, it is a shame that Antonioni did not attach them to material worthy of his usual subtlety. Settling for simple heroes and villains can only banalize the use of colors to characterize them, no matter how clever the process itself is. The film uses uncharacteristic symbolism, representing a thought or moral trait with a single color. Since Fohn is evil, and lavender suggests evil, he is colored lavender. One remembers with nostalgia the lurid reds of Giuliana’s Walpurgisnacht on Ravenna’s docks or the post-coital rose of Corrado’s hotel room. The technology of color is one thing, its filmic use is another. Progress in the former does not necessarily lead to progress in the latter. It is hard to prefer the Count of Fohn’s lavender cloud to the nuanced effects of J deserto rosso or BlowUp. The mere coloring of faces, no matter how ingeniously done, must look

slightly absurd if not accompanied by similar expressionist effects in other details—makeup, lighting, music, and so on. There must be coherence among such effects, as in Brecht, or in Fassbinder’s fascinating Berlin Alexanderplatz. In Oberwald there is none. Everything about Fohn except the color of his face is highly realistic. The color seems to introduce an element of moral judgment that the ironic Cocteau could not have wanted. After all these years, it is strange to find Antonioni expressing moralisms with such direct symbolism. Fohn’s face

212 THE PASSENGER AND IL MISTERO DI OBERWALD reminds us of Andy Warhol’s version of Nixon’s television face, whose strange hue—however justified by Watergate revelations—could have been achieved independently by any viewer fiddling with the knobs on his color television set. Still, there is no reason not to believe that video technology and its transference to film will improve and that Antonioni may feel more confident in the future about the public’s capacity to understand and appreciate the subtle uses of color that he is famous for. Indeed, he expresses a desire to use video to add color to L’avventura—not by reshooting the film but by recording it on videotape and electronically superimposing colors on the images. He confesses great curiosity about the outcome. Color effects are not the only ones in Oberwald that television techniques make possible. They also facilitate trick visual effects. Willenstein remembers seeing the queen without her veil once, so the image literally appears on the wall next to him; Edith’s true feelings appear on a nastier surrogate face standing next to her outwardly visible one; the queen keeps vigil over Sebastian’s recovery, but at a certain point she vanishes from the chair. These visionary manifestations come as narrative surprises, because the film is realistic in other respects, but in themselves they are not unfamiliar; the effects are like those produced by well-known processes of superimposition, cutting, and so on. Whatever they contribute to the plot of the film depends on one’s enthusiasm for ghosts and disappearances. Antonioni’s audience, after all, is not quite that of Méliés. In a recent interview, Antonioni spoke of a cinema “freed from the limits of realism, a cinema which is the consequence of our different attitude toward a world which in recent years has

completely changed its appearance ... We need to seek other truths, even through cinema, truths which everyday reality no longer gives us. I am convinced that the fantastic world of which my film has disclosed a mere glimmer is at our door and that that door will open itself if we do not ourselves open it.’’*? However

that may be, a film generation raised on Star Wars and microcinematographic documentaries and NASA films may not be overwhelmed by either the fictional world or the technology of // mistero di Oberwald.

10

Identificazione di una donna

Identificazione di una donna (1982) marks a return to the contemporary Italian scene.' It recounts the story of a filmmaker living in Rome, Niccolo Farra (Tomas Milian). The name recalls that of Niccolo Ferrari, who directed Uomini in piu (1955), which Antonioni produced. Niccolo is searching for a woman or, as he contends, two women—one fictional and one real. The fictional one will release him from his esthetic doldrums and enable him to make his next film, while the real one will replace the wife he has divorced. He argues that they must be different women, but clearly his muse and his love partner are more closely related than he is willing to admit. Niccolo fails on both accounts. He meets two women, but neither proves satis-

factory, for different reasons. The first, Maria Vittoria Luppis, Mavi for short (Daniela Silverio), is a Roman aristocrat: beautiful, exciting, mysterious. Indeed, all too mysterious: she finally vanishes without a word of explanation. He meets her on the telephone, by accident. His sister is a gynecologist, and, visiting her office one day, he answers the phone because her receptionist is out. It seems not to be accidental that Mavi is consulting a gynecologist: her life turns a great deal

on sex, and the medical risks run by the promiscuous constitute one of many hazards that, according to the film, complicate modern life. Niccolo and Mavi’s own sexual encounters are shown in explicit detail. The relationship falls under a cloud almost immediately. Niccolo is threatened by the “ gorilla” of some person who secretly loves Mavi and who is rich enough to employ one. The unpleasant thug calls him late at night, stakes out his apartment, and offers him “‘advice”’

over an ice-cream sundae. Mavi cannot identify the secret lover, and Niccolo becomes obsessed with finding out who it is. He asks her to introduce him to her circle of aristocratic friends. At a party, he makes inquiries but fails to identify the secret admirer and feels himself becoming the object of cold and intense scrutiny. He also observes that he is by no means Mavi’s sole lover; she seems to

be involved with a number of people, both men and women. Niccolo tries to remain cool about these discoveries, but his dissatisfaction is evident. Yet Mavi ~ continues to fascinate him.

, , 213

214 IDENTIFICAZIONE DI UNA DONNA

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ee rrr c rc TT rtrt— AMOROSA MENZOGNA Production: Filmus. Photographed by Renato del Frate. Music by Giovanni Fusco. Assistant director: Francesco Maselli. 10 minutes. With: Anna Vita, Sergio Raimondi, Annie O’ Hara, Sandro Roberti.

1949: SUPERSTIZIONE—NON CI CREDO! Production: I.C.E.T. Photographed by Giovanni Ventimiglia. Music by Giovanni Fusco. 9 minutes. 1949: SETTE CANNE, UN VESTITO Production: I.C.E.T. Photographed by Giovanni Ventimiglia. Stock music. 10 minutes. 1950: LA FUNIVIA DEL FALORIA Production: Teo Usuelli. Photographed by Goffredo Bellisario e Ghedina. Music by Teo Usuelli. 10 minutes.

265

266 FILMOGRAPHY 1972: CHUNG KUO CINA Production: RAI. Commentary by Andrea Barbato. Photographed by Luciano Tovoli in super sixteen millimeter color. Musical consultation by Luciano Berio. Sound by Giorgio Pallotta. Edited by Franco Arcalli. Assistant director: Enrica Rico. Shot in Peking, Nanking, Suchow, Shanghai, and the province of Hunan in May—June 1972. Shown on RAI television, Channel One, January 23, 1973.

Director: feature films

1950: CRONACA DI UN AMORE : Production: Villani Film (Franco Villani, Stefano Caretta). Screenplay by Antonioni, Da_ niele D’Anza, Silvio Giovaninetti, Francesco Maselli, and Piero Tellini from a story by Antonioni. Photographed by Enzo Serafin. Sets by Piero Filippone. Costumes for Lucia Bosé by Ferdinando Sarmi. Music by Giovanni Fusco (solo saxophone: Marcel Mule). Assistant director: Francesco Maselli. Director of production: Gino Rossi. Shot in and around Milan. First shown at the Biarritz Film Festival, October 1950. Premiere in Rome,

November 25, 1950. 96 minutes. With: Lucia Bosé (Paola), Massimo Girotti (Guido), Ferdinando Sarmi (Enrico Fontana), Gino Rossi (detective), Marika Rowsky (model), Rosi Mirafiore (barmaid), Rubi D’ Alma. 1952: I VINTI

Production: Film Costellazione, S.G.C. (Paris). Story and screenplay: Antonioni, Suso Cecchi D’ Amico, Giorgio Bassani, Diego Fabbri, Turi Vasile, and Roger Nimier (French episode). Photographed by Enzo Serafin. Sets by Gianni Polidori. Music by Giovanni Fusco. Edited by Eraldo Da Roma. Assistant directors: Francesco Rosi, Alain Cuny. Director of production: Paolo Moffa. Shot in Rome, London, and Paris, 1952. First shown at the Venice Film Festival, September 4, 1953. 110 minutes. French episode with: Jean-Pierre Mocky (Pierre), Etchika Choureau (Simone), Henri Poirier, André Jacques, Annie Noel, Guy de Meulan. Italian episode with: Franco Interlenghi (Claudio), Anna-Maria Ferrero (Marina), Evi Maltagliati (Claudio’s mother), Eduardo Cianelli (Claudio’s father), Umberto Spadaro, Gastone Renzelli. British episode with: Peter Reynolds (Aubrey), Fay Compton (Mrs. Pinkerton), Patrick Barr (Kent Watton), Eileen Moore, Raymond Lovell, Derek Tansley, Jean Stuart, Tony Kilshaw, Fred Victor, Charles Irvin. 1953: LA SIGNORA SENZA CAMELIE Production: ENIC (Domenico Forges Davanzati). Screenplay by Antonioni, Suso Cecchi D’ Amico, Francesco Maselli, and P. M. Pasinetti from a story by Antonioni. Photographed by Enzo Serafin. Sets by Gianni Polidori. Music by Giovanni Fusco; played by Marcel Mule Saxophone Quintet. Assistant director: Francesco Maselli. Director of production: Vittorio Glori. Shot in Rome, Venice, and Milan, winter 1952-1953. Premiere in Rome, February 1953. 105 minutes. With: Lucia Bosé (Clara Manni), Andrea Cecchi (Gianni Franchi), Gino Cervi (Ercole), Ivan Desny (Nardo Rusconi), Alain Cuny (Lodi), Monica Clay (Simonetta), Anna Carena (Clara’s mother), Enrico Glori (director), Laura Tiberti, Oscar Andriani, Elio Steiner, Nino Del Fabbro. 1953: TENTATO SUICIDIO (episode of Amore in Citta) Production: Faro Film. Story and screenplay by Antonioni, Cesare Zavattini, Aldo Buzzi, Luigi Chiarini, Luigi Malerba, Tullio Pinelli, and Vittorio Veltroni. Photographed by Gianni Di Venanzo. Sets by Gianni Polidori. Music by Mario Nascimbene. Edited by Eraldo Da Roma. Assistant director: Luigi Vanzi. Director of production: Marco Ferreri. Shot in Rome. Premiere in Rome, November 27, 1953. [Amore in citta was the first film inquiry sponsored by the film magazine Lo spettatore run by Zavattini, Riccardo Ghione,

FILMOGRAPHY 267 and Marco Ferreri.] 20 minutes. With: the people (nonprofessional actors) who took part in the events reported in the episode. 1955: LE AMICHE Production: Trionfalcine (Giovanni Addessi). Screenplay by Antonioni, Suso Cecchi D’ Amico, and Alba De Cespedes from the story “Tra Donne Sole” by Cesare Pavese. Photographed by Gianni Di Venanzo. Sets by Gianni Polidori. Costumes by the House of Fontana. Music by Giovanni Fusco; guitar played by Libero Tosoni; piano played by Armando Trovajoli. Edited by Eraldo Da Roma. Assistant director: Luigi Vanzi. Director of production: Pietro Notarianni. Shot in Turin. First shown at the Venice Film Festival, September 7, 1955. Premiere in Rome, November 18, 1955. 104 minutes. With: Eleanora Rossi Drago (Clelia), Valentina Cortese (Nene), Gabriele Ferzetti (Lorenzo), Franco Fabrizi (the architect, Cesare Pedoni), Ettore Manni (the architect’s assistant, Carlo), Madeleine Fischer (Rosetta Savoni), Yvonne Furneaux (Momina De Stefani), Annamaria Pancani (Mariella), Maria Gambarelli (Clelia’s employer), Luciano Volpato (Tony). 1957: IL GRIDO Production: S.P.A. Cinematografica (Franco Cancellieri) in collaboration with Robert Alexander Productions, New York. Screenplay by Antonioni. Photographed by Gianni Di Venanzo. Sets by Franco Fontana. Costumes by Pia Marchesi. Music by Giovanni Fusco; piano played by Lya De Barberis. Edited by Eraldo Da Roma. Assistant director: Luigi Vanzi. Directors of production: Danilo Marciano, Ralph Pinto. Shot in the Po Valley, Win-

ter 1956-1957. First shown at the Locarno Film Festival, July 14, 1957. Premiere in Rome, November 29, 1957. 116 minutes. With: Steve Cochran (Aldo), Alida Valli (Irma), Betsy Blair (Elvira), Dorian Gray (Virginia), Gabriella Pallotta (Edera), Lynn Shaw (Andreina), Mirna Girardi (Rosina), Gaetano Matteucci, Guerrino Campanili, Pina Boldrini. 1959: LLAVVENTURA |

Production: Amato Penn for Cino del Duca, Produzioni Cinematografiche Europee ' (Rome), and Societé Cinématographique Lyre (Paris). Screenplay by Antonioni, Elio Bartolini, and Tonino Guerra from a story by Antonioni. Photographed by Aldo Scavarda. Sets by Piero Poletto. Costumes by Adriana Berselli. Music by Giovanni Fusco. Sound by Claudio Maielli. Edited by Eraldo Da Roma. Assistant directors: Franco Indovina, Gianni Arduini. Assistant to the director: Jack O’Connell. Director of production: Luciano Perugia. Organization: Angelo Corso. Shot in Rome and Sicily (the Isles of Lipari and Milazzo, Catania, Taormina), September 1959—January 1960. Premiere in Bologna, September 25, 1960. 145 minutes. With: Gabriele Ferzetti (Sandro), Monica Vitti (Claudia), Lea Massari (Anna), Dominique Blanchar (Giulia), Renzo Ricci (Anna’s father), James Addams (Corrado), Dorothy De Poliolo (Gloria Perkins), Joe, fisherman from Panarea (old man on the island), Lelio Luttazzi (Raimondo), Giovanni Petrucci, Esmeralda Ruspoli (Patrizia), Professore Cucco (Ettore), Enrico Bologna, Franco Cimino, Giovanni Danesi, Rita Mole, Renato Piciroli, Angela Tommasi Di Lampedusa, Vincenzo Tranchina. 1960: LA NOTTE Production: Emanuele Cassuto for Nepi-Film (Rome), Silva-Film (Rome), and Sofitedip (Paris). Screenplay by Antonioni, Ennio Flaiano, and Tonino Guerra from a story by Antonioni. Photographed by Gianni Di Venanzo. Sets by Piero Zuffi. Costumes by Biki. Music by Giorgio Gaslini; played by the Quartetto Giorgio Gaslini. Edited by Eraldo Da Roma. __ Assistant directors: Franco Indovina, Umberto Pelosso. Organization: Roberto Cocco. Director of production: Paolo Frasca. Shot in Milan, July-August 1960. Premiere in Mi-

lan, January 24, 1961. 122 minutes. With Marcello. Mastroianni (Giovanni Pontano), Jeanne Moreau (Lidia Pontano), Monica Vitti (Valentina Gherardini), Bernhard Wicki (Tommaso), Maria Pia Luzi (patient), Rosy Mazzacurati (Resy), Guido A. Marsan (Fanti),

=. 268 FILMOGRAPHY Gitt Magrini (Signora Gherardini), Vincenzo Corbella (Gherardini), Giorgio Negro (Roberto), Roberta Speroni (Berenice), Ugo Fortunati (Cesarino), Vittorio Bertolini, Valentino Bompiani, Salvatore Quasimodo, Giansiro Ferrata, Roberto Danesi, Ottiero Ottieri.

1962: LECLISSE |

Production: Robert and Raymond Hakim for Interopa Film, Cineriz (Rome), Paris Film Production (Paris). Screenplay by Antonioni, Tonino Guerra, Elio Bartolini, and Ottiero Ottieri from a story by Antonioni and Guerra. Photographed by Gianni Di Venanzo. Sets by Piero Poletto. Music by Giovanni Fusco; “Eclisse Twist” sung by Mina. Edited by Eraldo Da Roma. Assistant directors: Franco Indovina, Gianni Arduini. Director of production: Danilo Marciano. Shot in Rome and Verona, Autumn 1961. First shown at the Cannes Film Festival, 1962. Premiere in Paris, August 1962. 125 minutes. With: Monica Vitti (Vittoria), Alain Delon (Piero), Lilla Brignone (Vittoria’s mother), Francisco Rabal (Riccardo), Louis Seignier (Ercoli), Rossana Rory (Anita), Mirella Ricciardi (Marta), Cy-

rus Elias (the drunk). 1964: IL DESERTO ROSSO Production: Antonio Cervi for Film Duemila, Cinematografica Federiz (Rome), Francoriz (Paris). Story and screenplay by Antonioni and Tonino Guerra. Photographed by Carlo Di Palma in Technicolor. Sets by Piero Poletto. Costumes by Gitt Magrini. Music by Giovanni Fusco; sung by Cecilia Fusco; electronic music by Vittorio Gelmetti. Edited by Eraldo Da Roma. Assistant directors: Giovanni Arduini, Flavio Nicolini. Director of production: Ugo Tucci. Shot in Ravenna and Sardinia, October-December 1963. First shown at the Venice Film Festival, 1964. 120 minutes. With: Monica Vitti (Giuliana), Richard Harris (Corrado Zeller), Carlo De Pra (Ugo), Xenia Valderi (Linda), Rita Renoir (Emilia), Aldo Grotti (Max), Giuliano Missirini (radio telescope operator), Lili Rheims (his wife), Valerio Bartoleschi (Giuliana’s son), Emanuela Paola Carboni (girl in fable), Bruno Borghi, Beppe Conti, Giulio Cotignoli, Giovanni Lolli, Hiram Mino Madonia, Arturo Parmiani,

Carla Ravasi, Ivo Cherpiani, Bruno Scipioni. , a 1965: PREFAZIONE (episode of J Tre Volti) , |

Production: Dino De Laurentiis. Story and screenplay by Antonioni. Photographed by Carlo Di Palma. Sets and costumes by Piero Tosi. Music by Piero Piccioni. Edited by Eraldo Da Roma. 25 minutes. With: Soraya, Ivano Davoli, Giorgio Sartarelli, Piero Tosi,

Dino De Laurentiis, Alfredo De Laurentiis, Ralph Serpe.

1966: BLOW-UP , |

Production: Bridge Films (Carlo Ponti) for MGM. Executive producer: Pierre Rouve. Screenplay by Antonioni and Tonino Guerra from a short story by Julio Cortazar; English dialogue in collaboration with Edward Bond. Photography by Carlo Di Palma in Metrocol‘or. Sets by Assheton Gorton; photographic murals by John Cowan. Costumes by Jocelyn

Rickards. Music by Herbert Hancock; “Stroll On” by the Yardbirds. Edited by Frank Clarke. Assistant director: Claude Watson. Director of production: Donald Toms. Shot in London and at the MGM studio in Borcham Wood. Premiere in New York, December 1966. 111 minutes. With: Vanessa Redgrave (Jane), David Hemmings (Thomas), Sarah Miles (Patricia), Peter Bowles (Ron), Verushka, Jill Kennington, Peggy Moffitt, Rosaleen Murray, Ann Norman, Melanie Hampshire (models), Jane Birkin, Gillian Hills (teenagers), Harry Hutchinson (antique dealer), John Castle (painter). 1969: ZABRISKIE POINT Production: Carlo Ponti for MGM. Executive producer: Harrison Starr. Screenplay by Antonioni, Fred Gardner, Sam Shepard, Tonino Guerra, and Clare Peploe. Photography by Alfio Contini in Panavision and Metrocolor. Production designer: Dean Tavoularis. Set decorator: George Nelson. Special effects by Earl McCoy. Music by Pink Floyd; Kaleidoscope; “ You’ ve Got the Silver” by the Rolling Stones; “Sugarable” by the Youngbloods;

, FILMOGRAPHY 269 “Dark Star” by the Grateful Dead; “Dance of Death” by John Fahey; “I Wish I Was a Single Girl Again” by Roscoe Holcomb; “The Tennessee Waltz” by Patti Page. Editing assistant: Franco Arcalli. Sound mixing by Renato Caudieri. Assistant directors: Rina Macrelli and Robert Rubin. Production manager: Don Guest. 110 minutes. With: Mark Frechette (Mark), Daria Halprin (Daria), Rod Taylor (Lee Allen), Paul Fix (cafe owner),

G. D. Spradlin (Lee Allen’s associate), Bill Garaway (Morty), Kathleen Cleaver | (Kathleen), and the Open Theatre of Joe Chaikin. 1975: THE PASSENGER (called Profession: Reporter in Europe)

Production: Carlo Ponti for MGM (in conjunction with Cinematografica Champion, Rome, Les Films Concordia, Paris, and CIPI Cinematografica, Madrid). Screenplay by Mark Peploe, Peter Wollen, and Antonioni based on a story by Mark Peploe. Photographed by Luciano Tovoli. Sets by Piero Poletto. Edited by Franco Arcalli and Antonioni. Costumes by Louise Stjensward. Production manager: Ennio Onorati. Assistant directors: Enrico Sannia, Claudio Taddei, Enrica Fico. Musical consultant: Ivan Vander. Shot in North Africa, London, Munich, Barcelona, and coastal Spain. 124 minutes. With: Jack Nicholson (David Locke), Maria Schneider (the Girl), Jenny Runacre (Rachel Locke), Ian Hendry (Knight), Stephen Berkoff (Stephen), Ambroise Bia (Achebe), Jose Maria Cafarel (hotel keeper), James Campbell (witch doctor), Manfred Spies (German), Jean

Baptiste Tiemele (murderer), Angel Del Pozo (police inspector), Chuck Mulvehill (Robertson).

1980: IL MISTERO DI OBERWALD | Production: Sergio Benvenuti, Alessandro von Norman, Giancarlo Bernardoni for RAI. Screenplay by Antonioni and Tonino Guerra based on the play L’ Aigle a deux tétes by Jean Cocteau. Photographed by Luciano Tovoli in video transferred to thirty-five millimeter film. Sets by Mischa Scandella. Costumes by Vittoria Guaita. Electronic editing by Antonioni and Francesco Grandoni. Consultation for color and electronic effects: Franco De Leonardis. Musical consultation: Guido Turchi, with selections from Richard Strauss, Arnold Schonberg, and Johannes Brahms. Sound: Gianfranco Desideri, Claudio Grandini, Fausto Ancillai, Sandro Peticca, Fiorenza Muller. 129 minutes. With: Monica Vitti (the Queen), Franco Branciaroli (Sebastian), Luigi Diberti (Willenstein), Elisabetta Pozzi (Edith de Berg), Amad Saha Alan (Tony), Paolo Bonacelli (Count of Fohn).

1982: IDENTIFICAZIONE DI UNA DONNA ,

Production: Giorgio Nocella and Antonio Macri for Iter Films and Gaumont S. A. Screenplay by Antonioni, Gerard Brach, and Tonino Guerra based on a treatment by Antonioni. Photographed by Carlo Di Palma. Sets by Andrea Crisanti. Edited by Antonioni. Music by John Foxx, with selections from Peter Bauman, Edoardo Bennato, Claudio Dantes, Hengel Gualdi, Steve Hillage, Mercenaries, Gianna Nannini, Orchestral Maneuvers in the Dark, Tangerine Dream, Alexander Scriabin, and Edvard Grieg. Shot in Rome and environs and in Wales. 128 minutes. With: Tomas Milian (Niccolo Farra), Christine Boisson (Ida), Daniela Silverio (Mavi), Marcel Bozzuffi (Mario), Lara Wendel (the girl in the swimming pool), Veronica Lazar (Carla Farra), Enrica Fico (Nadia), Sandra Monteleoni (Mavi’s sister), Giampaolo Saccarola (the gorilla), Itaco Nardulli, Carlos Valles, Sergio Tardioli, Paola Dominguin, Arianna De Rosa, Pierfrancesco Aiello, Maria Stefani d’ Amario.

Producer

1955: UOMINI IN PIU.

For the CIME (Intergovernmental Committee on European Migration), adocumentary on

overpopulation and emigration from Italy. Directed by Niccolo Ferrari.

270 FILMOGRAPHY

Screenwriter | |

1942: I DUE FOSCARI in collaboration with G. Campanile Mancini, Mino Doletti, and Enrico Fulchignoni. Directed by Enrico Fulchignoni. 1942: UN PILOTA RITORNA in collaboration with Rosario Leone, Ugo Betti, Massimo Mida, and Gherardo Gherardi. Directed by Roberto Rossellini.

1947: CACCIA TRAGICA in collaboration with Giuseppe De Santis, Carlo Lizzani, Cesare Zavattini, Corrado Alvaro, Umberto Barbaro, and Tullio Pinelli. Directed by Giuseppe De Santis.

1952: LO SCEICCO BIANCO in collaboration with Federico Fellini and Tullio Pinelli.

Directed by Federico Fellini. |

Selected Bibliography

This bibliography is based on those of Ian Cameron and Robin Wood, Antonioni (London, 1968); Carlo Di Carlo, ed., Michelangelo Antonioni (Rome, 1964); the bibliography compiled by Enrico Pratesi and Andrea Vannini in Piero Mechini and Roberto Salvadori, eds., Rossellini, Antonioni, Bunuel (Padua, 1973); Carlo Di Carlo, “Michelangelo Antonioni: Identificazione di un autore,” Jnquadrature, no. 3 (1982); and items discovered in my own search. Although I have not been able to see all the articles, I list them for the Englishspeaking audience, especially titles that reflect Antonioni’s own considerable contribution to film criticism and theory. In some cases I have not been able to secure complete bibliographical information. The sum of writings by and about Antonioni is unbelievably vast: by 1964, Di Carlo had counted 1,200 books and articles. I have tried to make a selection among the best of these entries insofar as I was able to find the material myself.

Writings by Antonioni | Screenplays (See Filmography for names of coauthors. The order of these entries follows, by and large, the order of the dates of the films. ) Il primo Antonioni. Edited by Carlo Di Carlo. Bologna, 1973. [Includes Gente del Po, N.U, L’amorosa menzogna, Superstizione, Cronaca di un amore. | Sei film. Torino, 1974. [Includes an important preface by Antoniontr. The six films are Le amiche, Il grido, L’avventura, La notte, L’eclisse, and Il deserto rosso. | The Screenplays of Michelangelo Antonioni. Translated by Roger Moore and Louis Brigante. New York, 1963. [Includes /I grido, L’avventura, La notte, and L’eclisse. | Il grido. Edited by Elio Bartolini. Bologna, 1957. L’avventura. Edited by Tommaso Chiaretti. Bologna, 1960; 2ded., 1977. L’avventura. Text reconstructed by David Denby; consulting editor, George Amberg; gen-

eral editor, Robert Hughes. New York, 1969. [Also includes the 1961 Bianco e nero interview, “La malattia dei sentimenti,” at the Centro Sperimentale and essays on the film by Tommaso Chiaretti, Pierre Billard, George Amberg, Dominique Fernandez, Penelope Houston, Bosley Crowther, John Simon, Dwight MacDonald, Joseph Bennett,

and William Pechter. ] ,

La nuit. Translated by Michele Causse. Paris, 1961. [Includes essays by Bernard Pingaud and Jean Queval.] L’eclisse. Edited by John Francis Lane. Bologna, 1962. [Includes a “Presentazione” by the editor, anote on “Le parole” by Antonio Guerra, and “Scoperta del cinema” by Ottiero Ottieri.] 271

272 SELECTED BIBLIOGRAPHY Il deserto rosso. Edited by Carlo Di Carlo. Bologna, 1964; 2d ed., 1978. [Includes an impor-

tant essay by Antonioni, “Il bosco bianco,” as well as one by the editor, “II colore dei sentimenti,” and a diary of the production by Flavio Niccolini.] Blow-Up. In Italian. Turin, 1967. Blow-Up. Edited by Sandra Wake. New York, 1971. [Includes interviews with Antonioni by Pierre Billard and Nadine Liber and Antonioni’s essay “Reality and Cinéma Vérité.”’]

Zabriskie Point. In Italian. Bologna, 1970. [With seventy-eight illustrations, many in color. Contains an introduction by Alberto Moravia, a translation of Antonioni’s defense of the film in Esquire, and a selection of favorable reviews from America. ] Chung Kuo Cina. Edited by Lorenzo Cuccu. Turin, 1974. [Includes a defense of documen-

tary as a genre by Antonioni.] ,

The Passenger. With Mark Peploe and Peter Wollen. New York, 1975. [Many black-andwhite frame reproductions. Includes essays by Vincent Canby, Penelope Gilliatt, and

Richard F. Shepard.] ,

Profession: Reporter. Edited by Carlo Di Carlo. Bologna, 1975. [Differs from the English version, The Passenger, at several points. ] Il mistero di Oberwald. Edited by Gianni Massironi. Turin, 1981. [Includes a statement by Antonioni, “Quasi una confessione.” | _ Investigazione di una donna. Edited by Aldo Tassone. Turin, 1983. [Includes essays by Tassone, Roberto Roversi, and Jacques Siclier.]

Unfilmed Screenplays and Treatments Terra verde (1940). In Bianco e nero 4, no. 10 (October 1940): 57-69. [Inhabitants of a North Atlantic island must flee their land when they realize that the Gulf Stream is

, drifting to the east.] _ Scale (Steps) (1950). In Michelangelo Antonioni, edited by Carlo Di Carlo (Rome, 1964), pp. 131-33. [A documentary of vignettes about what happens to people on stairways. ] Uno dei nostri figli (One of Our Sons) (1952). In collaboration with Giorgio Bassani and Suso Cecchi D’ Amico. In Il primo Antonioni, edited by Carlo Di Carlo (Bologna, 1973), pp. 175—84. [Intended as the Italian episode of / vinti; censorship prevented its filming. Available in several sources but most easily accessible in the Di Carlo volume. ] Stanotte hanno sparato (There Was Shooting Tonight) (1953). In Cinema nuovo, no. 9

(1953), pp. 246-48.

Le allegre ragazze del ’24 (The Light-hearted Girls of 1924) (1956). In Cinema nuovo, no. 85 (1956), pp. 362-64. [A comedy to have been shot in color.] Idae i porci(Ida and the Pigs) (1956). In collaboration with Ennio De Concini and Rudolfo Sonego. [Unpublished. | Makaroni (1958). In collaboration with Tonino Guerra. In Cinema nuovo, no. 163 (1963), pp. 219-28; no. 164 (1963), pp. 299-308; no. 165 (1963), pp. 382—89. [An adaptation of Ugo Pirro’s novel Le soldatesse (The [Female] Soldiers). The novel was later filmed as Le soldatesse by Valerio Zurlini.] Tecnicamente dolce (Technically Sweet) (1976). Edited with an introduction by Aldo Tassone. Turin, 1976. [Contains many photographs of intended locations. ] Quel bowling sul Tevere (That Bowling Alley on the Tiber). Turin, 1983. [A collection of thirty-three stories that were also treatments and notes for films never made published over the years in Italian newspapers and journals. Some of the more important are the

title story, “Un film da fare o da non fare,” “Il deserto dei soldi,” “Ii mondo é un vecchio sbaglio,” “Questo corpo di fango,” ‘La ragazza, il delitto,” and “Quattro uomini in mare.’’] In Identificazione di un autore (1982), Carlo Di Carlo attributes several other soggetti to Antonioni that other directors developed into films: Peccato che sia una canaglia (1955, directed by A. Blasetti), La donna piu bella del mondo (1955, directed by R. Z. Leon-

SELECTED BIBLIOGRAPHY 273 ard), and La diga sul Pacifico (1957, directed by René Clement). He also reports that Antonionicollaborated with Visconti on two treatments that were never realized: Furore (1945) and II processo di Maria Tarkowska (1945).

Other Writings, Essays, and Interviews The writings listed here include Antonioni’s discussions of the work of other filmmakers and of his own art, including his comments on specific films. The order is chronological; interviewers’ names are included only if they appear in a byline. Antonioni is one of the most frequently interviewed of filmmakers. His comments are thoughtful, modest, and _ interesting and provide an important source of information about his work. The following represents a short selection only. “Per un film sul fiume Po.”’ Cinema (old series), no. 68 (April 1939), pp. 254-57. —“Omaggio a Clair.” Film rivista, no. 13 (September 13, 1946), p. 4. “Omaggio a Renoir.” Film rivista, no. 18 (September 19, 1946), p. 6. “Tl problema del colore.” Bianco e nero9, no. 2 (1948): 78ff. “Marcel Carné, parigino.” Bianco e nero 9, no. 10 (1948): 17—47; reprinted in Michelangelo Antonioni, edited by Carlo Di Carlo (Rome, 1964), pp. 341-60. “La terra trema.” Bianco e nero 10, no. 7 (1949): 90-92. “Miseria e poesia di Charlot.” Cosmopolita; settimanale di vita internazionale (1944), pp. 22ff.; a shorter version appeared in Film rivista, no. 8 (May 1957). “Suicidi in citta.”” Cinema nuovo, no. 31 (1954), p. 156. “There Must Be a Reason for Every Film.” Film and Filming 5, no. 9 (April 1959): 11.

“Making a Film Is My Way of Life.” Film Culture, no. 24 (Spring 1962), pp. 43-45. [Translated from “Fare un film € per me vivere,” Cinema nuovo, no. 138 (March-April 1959).] “Questions a Antonioni.” Positif; no. 30 (1959), pp. 7-10. Labarthe, André. “‘Entretien avec Michelangelo Antonioni.” Cahiers du cinéma, no. 112 (October 1960), pp. 1-14. Manceaux, Michele. ‘“‘An Interview with Antonioni.” Sight and Sound 30 (Winter 1960/ 61): 4-11. “Reflections on the Film Actor.” Film Culture, nos. 22-23 (Summer 1961), pp. 66-67. “Direction Noted.” New York Times, February 18, 1962, sec. II, p. 9. [Comments on La notte. |

Alpert, Hollis. “A Talk with Antonioni.” Saturday Review of Literature 45 (1962): 27, 65. [About L’eclisse. | “A Talk with Michelangelo Antonioni on His Work.” Film Culture, no. 24 (Spring 1962),

pp. 45-61; translated from “La malattia dei sentimenti: Colloquio con Michelangelo Antonioni,” Bianco e nero 22, nos. 2—3 (February-March 1961): 69-95. [Perhaps Antonioni’s most important interview, with the students of the Centro Sperimentale di Cinematografia (Rome), March 1961.]} ““Nevrosi, disperazione, e speranza.”” Cinema nuovo, no. 160 (1962), p. 445. ““Come ‘vede’ un regista.” La stampa, June 6, 1963; reprinted in Michelangelo Antonioni, edited by Carlo Di Carlo (Rome, 1964), pp. 371-73. “The Event and the Image.” Sight and Sound 33 (1963/64): 14; translated from “Il ‘fatto’ e l’ immagine,” Cinema nuovo, no. 164 (1963), pp. 249-50.

“Reality and Cinéma Vérité.” Atlas 9, no. 2 (February 1965): 122-23; translated by Heather Gordon-Horwood from “La realta é il cinema-diretto,” Cinema nuovo, no. 167 (January-February 1964), pp. 8—10. Manceaux, Michele. “In the Red Desert.” Sight and Sound 33 (Summer 1964): 18-19. “*Deserto rosso.”” Cahiers du cinéma, no. 159 (October 1964), p. 14.

274 SELECTED BIBLIOGRAPHY

28, 1964. .

Baby, Yvonne. “‘Entretien avec Antonioni a propos du Désert rouge.” Le monde, October “Preface.” In Michelangelo Antonioni, Sei film (Turin, 1964), pp. ix—xviii. “Tl colore sara l’avvenire del cinema.” Cineforum 4 (1964): 1024. Godard, Jean-Luc. “Jean-Luc Godard Interviews Michelangelo Antonioni.” Movie, no. 12 (Spring 1965), pp. 31-34; translated by Elizabeth Kingsley-Rowe from a tape-recorded discussion about // deserto rosso at the Venice Film Festival. Cinéma 65 100 (1965): 42—44. [Untitled response to a query about then-current French

cinema. ] |

“Risposta all’ inchiesta tra registi.” Sipario 240 (1966): 8. Reed, Rex. “Interview with Antonioni.” New York Times, January 1, 1967, sec. II, p. 7. [Antonioni’s letter to the editor in response to this article appears in the New York Times of January 15, 1967, sec. II, p. 17.] “ Antonioni—English Style.” In Michelangelo Antonioni, Blow-Up, edited by Sandra Wake (New York, 1971), pp. 14-17; translated from “Antonioni a la mode anglaise,” Cahiers du cinéma, no. 186 (January 1967), pp. 13-15. Liber, Nadine. “Antonioni Talks About His Work.” Life, January 27, 1967, pp. 66-67; reprinted in Michelangelo Antonioni, Blow-Up, edited by Sandra Wake (New York,

1971), pp. 18-20.

“L’arte deve tendere acommunicare.” Cineforum 7 (1967): 681. “Moravia dialoga con Antonioni.” In Antonioni/Cortdzar: Blow-Up, edited by Daniel Mario Lopéz and Alberto Eduard Ojam (Buenos Aires, 1968), pp. 94-104. Youngblood, Gene. “Antonioni.” Rolling Stone, March 1, 1969, pp. 15-18. Leprohon, Pierre. Michelangelo Antonioni, 2ded. (London, 1969). [Includes a selection of pronouncements on the cinema by Antonioni. ] “Lettera testimonianza.”’ Cinema nuovo, no. 200 (1969), p. 287. “Licenziosita come ribellione (lettera aperta a Gian Luigi Polidaro).” Cinema nuovo, no. 202 (1969), pp. 414-15. “Let’s Talk About Zabriskie Point.” Esquire 74 (August 1970): 68—69, 145—48. Samuels, Charles. “Interview with Antonioni.” Vogue 155 (March 15, 1970): 96, 131-34. Samuels, Charles. “An Interview with Antonioni.” Film Heritage 5 (Spring 1970): 1-12. Mancini, Michele, Alessandro Cappabianca, Ciriaco Tiso, and Jobst Grapow. “‘Conversazione con Michelangelo Antonioni.” Filmcritica 26, no. 252 (1975): 58—63. “Tl ‘reporter’ che non avete visto.” Corriére della sera, October 26, 1975. Bachmann, Gideon. “Antonioni After China: Art Versus Science.” Film Quarterly 28

(Summer 1975): 26—30. 7 |

: 158-59, 173. :

“Michelangelo Antonioni Speaks Out.” American Cinematographer 57 (February 1976):

Micciché, Lino. ‘‘ Antonioni visto da Antonioni.” Interview for RAI television, 1980; unpublished typescript of thirteen pages. Mori, Anna Maria. “Identificazione di una donna nei ‘volgare’ mondo di oggi.” La repubblica, November 18, 1980. : “Dal colore dei sentimenti all nuova tecnica: Antonioni conversa con CArlo Di Carlo.” In Catalogo della rassegna: Tutto Antonioni in 13 giorni, edited by Vittorio Boarini (Bolo-

gna, 1980), pp. 13-16. [A discussion of the opportunities for color mixing in video

production apropos II mistero di Oberwald. |

vember 1981): 2-7. , -

Cuel, Frangois, and Bruno Villien. “Michelangelo Antonioni.” Cinématographe 72 (NoDaney, Serge, and Serge Toubiana. “La méthode de Michelangelo Antonioni.” Cahiers du cinéma, no. 342 (December 1982), pp. 6—7, 61-65. “Difende ‘L’identificazione’ poi Antonioni salpa in yacht.” Giornale, October 28, 1982. Tornabuoni, Lietta. “Antonioni sul mare della futura.” La stampa, December 19, 1982, p. 3. Bachmann, Gideon. “A Love of Today: An Interview with Michelangelo Antonioni.” Film Quarterly 36 (Summer 1983): 1—4. [On Identificazione di una donna. |

SELECTED BIBLIOGRAPHY 275 Articles and Books About Antonioni Amengual, Barthelemy. “Dimensions existentialistes de La notte.” Etudes cinématographiques, nos. 36—37 (1964), pp. 47-65.

Amerio, Piero. “Antonioni: Appunti per una psicologia dell’irrelevant.” In Carlo Di Carlo, Michelangelo Antonioni (Rome, 1964), pp. 45-66.

Andrew, J. Dudley. “The Stature of Objects in Antonioni’s Films.” Tri-Quarterly 11 (1968): 40-61. Apra, Adriano. “I tre volti.” Filmcritica, no. 154 (1965), p. 136. Arbasino, Alberto. “Alien Corn.” Atlas 5, no. 1 (January 1963): 13-17. Aristarco, Guido. ““Cronache di una crisi e forme strutturale dell’anima.” Cinema nuovo, no. 149 (1961), pp. 42—52. [On the literary roots of Antonioni’s art in Flaubert, Proust, and Joyce. ]

—___.. “L’evoluzione di Antonioni in Zabriskie Point.’ Cinema nuovo, no. 205 (1970), pp. 205-10. __—_—. “La donna nel deserto di Antonioni.” Cinema nuovo, no. 173 (1965), pp. 12-15. , —____. “La notte and L’avventura.” Film Culture, no. 24 (Spring 1962), pp. 82-83.

_____.. “Un univers en voie de réification.” Etudes cinématographiques, nos. 36-37 (1964), pp. 66-80. Arnheim, Rudolf. Art and Visual Perception. Berkeley, 1969. —___—. The Dynamics of Architectural Form. Berkeley, 1977. Atwell, Lee. ““The Passenger.” Film Quarterly 28 (Summer 1975): 56-61. Bachmann, Gideon. “Antonioni: The Creative Use of Reality.” London Times, April 23,

1975, pp. 14-15. ,

____.. ‘“Antonioni Down Under.” Sight and Sound 45 (Autumn 1976): 224. [Early work on The Crew.] Baldelli, Pio. Cinema dell’'ambiguita; Bergman e Antonioni. 2d ed. Rome, 1971. Barthelme, Donald. “L’ Lapse.” The New Yorker, March 2, 1963, pp. 29-31. [A parody. ]

Barthes, Roland. “Caro Antonioni.” In Catalogo della rassegna: Tutto Antonioni in 13 giorni, edited by Vittorio Boarini (Bologna, 1980), pp. 3-4. Bassani, Giorgio. “Michelangelo Antonionie il diritto alla solitudine.” Cinema nuovo, no. 186 (1967), pp. 88-90. Baumbach, Jonathan. “From A to Antonioni: Hallucinations of a Movie Addict.” In Man and the Movies, edited by W. R. Robinson (Baltimore, 1971), pp. 169-79. Bennett, Joseph. “The Essences of Being.” Hudson Review 14 (1961): 432-36. [On L’avventura.] Benoit, Claude. “Profession: Reporter.” Jeune cinéma 89 (1975): 35 -38.

Bergala, Alain. “L’exercice et la répétition.” Cahiers du cinéma, no. 342 (December 1982), pp. 8-11. Bernardini, Aldo. Michelangelo Antonioni da “Gente del Po” a “Blow-Up.” Milan, 1967.

[Contains a valuable anthology of quotations from Antonioni’s critical pronouncements, 1939-1965.] Biasin, Gian-Paolo. The Smile of the Gods: A Thematic Study of Cesare Pavese’s Work. Ithaca, N.Y., 1968. **Blow-Up.” Film Facts 9 (January 1967): 301-4. Boarini, Vittorio, ed. Catalogo della rassegna: Tutto Antonioni in 13 giorni. Bologna, 1980. [Catalogue for a retrospective at the Cinema Tiffany, Bologna, January—February 1980.] Bondanella, Peter. Italian Cinema from Neorealism to the Present. New York, 1983. Bonitzer, Pascal. ““Désir désert (Profession: Reporter).” Cahiers du cinéma, nos. 262-63

(1976), pp. 95-98. Bonnot, Gerard. “La nuit d’ Antonioni et I’agonie de [’amour courtois.” Les temps modernes 16, no. 180 (April 1961): 1362-74. [On La notte.) Borden, Diane M. “Antonioni and Architecture.” Mise-en-Scéne 2 (1980): 23-26.

1977. :

276 SELECTED BIBLIOGRAPHY

Bresson, Robert. Notes on Cinematography. Translated by Jonathan Griffin. New York,

Brunetta, Giampiero. “Le amiche: Pavese e Antonioni dal romanzo al film.” In G. Brunetta, Forma e parole nel cinema (Padua, 1970). Bruno, Edoardo. “La Cina di Antonioni.” Filmcritica, no. 231 (1973), pp. 12-13. —___—. “Une réalité déshumanisée.” Etudes cinématographiques, nos. 36-37 (1964), pp.

82-84. Buffa, Michelangelo. “Lo sguardo/ripresa di ‘Professione: Reporter.’” Filmcritica, no. 252 (1975), pp. 77-78. Burch, Noél. Theory of Film Practice. Translated by Helen Lane. New York, 1973. Burks, John. “Fourteen Points to Zabriskie.” Rolling Stone, March 7, 1970, pp. 36-39. Butor, Michel. ““Rencontre avec Antonioni.” Les lettres francgaises, no. 880 (June 1961),

pp. 15-21. | : ,

Cadbury, William. Film Criticism: A Counter Theory. Ames, lowa, 1982. (Contains an

analysis of L’avventura, La notte, and L’eclisse.] , Callenbach, Ernest. “Zabriskie Point.” Film Quarterly 23 (Spring 1970): 35-38. Cameron, Ian, and Robin Wood. Antonioni. London, 1968. Canby, Vincent. “ Antonioni’s Haunting Vision.” New York Times, April 20, 1975, pp. D1, DIS. [On The Passenger] Caprana, Valerio. “L’ impossible gioco di Antonioni.” Mattino, October 23, 1982. Carpi, Fabio. Michelangelo Antonioni. Parma, 1958. Cavani, Liliana. “L’avventura, La notte, e lacritica.” Studium 3 (1961): 195-98. Chatman, Seymour. “The Rhetoric of Difficult Fiction: Cortazar’s ‘Blow-Up.’” Poetics Today 1 (1980): 23-66.

_____.. Story and Discourse. Ithaca, 1978. |

Chiaretti, Tommaso. “Problemi stilistici in Antonioni.” Centrofilm, nos. 36—37 (1965), pp.

Up.] |

21-49.

Cocteau, Jean. L’aigle a deux tétes. In Jean Cocteau, Théatre II (Paris, 1948), pp. 298—415. Cohen, Hubert I. ““Re-sorting Things Out.” Cinema Journal 10 (1971): 43—45. [On Blow-

Colombo, Furio. “Visual Structure in a Film by Antonioni.” Translated by Patrizio Rossi and Garrett Stewart. Quarterly Journal of Film Studies 2 (1977): 427-32. Corbucci, Gianfranco. “Chung Kuo Cina.” Cinema nuovo, no. 222 (1973), pp. 133-34. Cortazar, Julio. “Blow-Up.” In J. Cortazar, End of the Game and Other Stories, translated

by Paul Blackburn (New York, 1967), pp. 100-115. Cowie, Peter. Antonioni, Bergman, Resnais. New York, 1963. Cremonini, Giorgio. “‘/ tre volti.” Cinema nuovo, no. 175 (1965), pp. 204—5. Cuccu, Lorenzo. La visione come problema: Forme e svolgimento del cinema di Antonioni. Rome, 1973. Decaux, Emmanuel. “Le mystere d’Oberwald.” Cinématographe 61 (October 1980): 61-62. “Dibattito su L’eclisse.” In Michelangelo Antonioni, edited by Carlo Di Carlo (Rome, 1964), pp. 87-118. Di Carlo, Carlo, ed. Michelangelo Antonioni. Rome, 1964. [A collection of important essays on Antonioni and a 1,200-item bibliography up to 1963; some items are quoted at length. Di Carlo contributes a survey of Antonioni’s career by way of introduction, pp. | 8—41.]

Di Carlo, Carlo. “Michelangelo Antonioni: Identificazione di un autore; Gli anni della formazione e la critica su Antonioni.” Inquadrature: Quaderni di cinema, no. 3 (1982),

whole issue. ,

Dick, Bernard F. “The Passenger and Literary Existentialism.” Literature/Film Quarterly 5 (1977): 66-74. Di Giammatteo, Fernaldo, and Giorgio Tinazzi. Michelangelo Antonioni. Padua, 1961.

SELECTED BIBLIOGRAPHY 277 Eco, Umberto. “Antonioni ‘impegnato.’” In Michelangelo Antonioni, edited by Carlo Di Carlo (Rome, 1964), pp. 67-71. ____.. “De Interpretatione, or the Difficulty of Being Marco Polo.” Translated by Christine Leefeldt. Film Quarterly 30 (Summer 1977): 8-12. [On Chung Kuo Cina.] Elkaim, Arlette. “L’avventura.” Les temps modernes 16, no. 178 (February 1961): 1038-43. Ente Autonomo Espozione Universale di Roma (EUR). Relazione sull’ attivita svolta nel decennio (1951-1961). Rome, 1962. [Contains photographs of the EUR at the time L’eclisse was being shot.] Farabet, René. “L’acteur, ce ‘Cheval de Troie.’” Etudes cinématographiques, nos. 36-37 (1964), pp. 34-39. Farber, Manny. ““White Elephant Art Versus Termite Art.” Film Culture, no. 27 (Winter 1962-1963), pp. 9-13. [On L’ avventura and La notte.} Fernandez, Henry. ‘‘ Blow-Up from Cortazar to Antonioni: Study of an Adaptation.” Film Heritage 4 (Winter 1968-1969): 26-30. Ferrara, Giuseppe. “ Antonionie la critica (bibliografia ragionato).”’ Bianco e nero 18, no. 9 (1957): 57-71. [An annotated bibliography. ] Ferrero, Adelio. “Da L’avventura a L’eclisse: ‘La presenza’ di Antonioni nel cinema italiano.” Cinestudio 5 (1962): 1-17. Ferrua, Pietro. ‘“‘Blow-Up from Cortazar to Antonioni.” Literature/Film Quarterly 4

(1976): 68-75. ;

Fink, Guido. “ Antonioniet le film policier a l’envers.” Translated by Jean Bastaire. Etudes

cinématographiques, nos. 36—37 (1964), pp. 7-16. ;

____.. “Il deserto rosso: La réalité acceptée.” Translated by Francois Debreczeni. Etudes cinématographiques, nos. 36—37 (1964), pp. 92-97. ____—. Giampaolo Bernagozzi, Gian Piero Brunetta, Leonardo Quaresima, and Giorgio De Vicenti. Michelangelo Antonioni: Identificazione di un autore. Parma, 1983. [Contains papers presented at a conference in Ferrara, December 1982.] Garis, Robert. ““Watching Antonioni.” Commentary 43, no. 4 (April 1967): 86-89. Giacomelli, A. M., and I. Saitta. La crisi dell’uomo e della societa nei film di Visconti ed Antonioni. Alba, 1972. Gilliat, Penelope. “About Reprieve.” The New Yorker, April 14, 1975, pp. 112-19. [On

The Passenger.| |

Gilman, Richard. “About Nothing—with Precision.” Theater Arts 46, no. 7 (July 1962): 10-12. [On L’eclisse.}

Gilson, René. ‘Michelangelo Antonioni, de Gente del Po a Il grido.” Les temps modernes 14, no. 158 (April 1959): 1662-72. Gliserman, Marty. ‘The Passenger: An Individual in History.” Jump Cut 8 (1975): 1-8. Gombrich, E. H. “Standards of Truth: The Arrested Image and the Moving Eye.” In The Language of Images, edited by W.J. T. Mitchell (Chicago, 1980), pp. 181-90. Gow, Gordon. “Antonioni Men.” Films and Filming 16, no. 9 (June 1970): 41—46. _____.. “Michelangelo Antonioni’s Film Zabriskie Point.” Films and Filming 21, no. 10 (July 1975): 32-37. Grande, Maurizio. “La condizione estetica tra lettura e semiosi (a proposito di Professione: Reporter).” Filmcritica, no. 252 (1975), pp. 68-73. Gyurko, Lanin A. “Hallucination and Nightmare in Two Stories by Cortazar.”” Modern Language Review 67 (1972): 550-62. _____.. “Truth and Deception in Cortazar’s ‘Las Babas Del Diablo.’”” Romanic Review 63 (1972): 204-17. Handzo, Stephen. “Michelangelo in Disneyland.” Film Heritage 6 (Fall 1970): 7-24. Hernacki, Thomas. “Michelangelo Antonioni and the Imagery of Disintegration.” Film Heritage 5 (Spring 1970): 12-21. Hines, Kay. “Three Sequences from Blow-Up: A Shot Analysis.” Film 5 (June 1967):

278 , SELECTED BIBLIOGRAPHY 135-40. [Also in Focus on Blow- Up, edited by Roy Huss (Englewood Cliffs, N.J., 1971).] Holland, Norman. “Not Having Antonioni.” Hudson Review 16 (1963): 89-95. Houston, Penelope. “L’avventura.” Sight and Sound 30 (Winter 1960/61): 11-13. —_____.. “Keeping Up with the Antonionis.” Sight and Sound 33 (Autumn 1964): 163-68. ____—. “The Landscape of the Desert.” Sight and Sound 34 (Spring 1965): 80-81, 103. —___—. “Michelangelo Antonioni.” In Cinema: A Critical Dictionary, ed. Richard Rond (New York, 1980), 1:83—95. Huss, Roy, ed. Focus on Blow-Up. Englewood Cliffs, N.J., 1971. [Contains essays by Huss, Kauffmann, Kozloff, Freccero, and others; a plot outline; and a shot analysis. ] Huss, Roy, and Norman Silverstein. The Film Experience. New York, 1968. [Contains dis-

cussion of [/ deserto rosso.| , :

Isaacs, Neil D. “The Triumph of Artifice: Antonioni’s Blow-Up 1966.” In Modern European Filmmakers and the Art of Adaptation, edited by A. Horton and J. Magretta (New York, 1981), pp. 130—44.

Jebb, Julian. ‘‘Intimations of Reality: Getting the Zabriskie Point.” Sight and Sound 39 (Summer 1970): 124—26. Johnson, Lincoln F. Film: Space, Time, Light, and Sound. New York, 1974. [Contains many frames in color from // deserto rosso.| Kael, Pauline. “The Beauty of Destruction.” The New Yorker, February 21, 1970, pp. 95-—

99. [On Zabriskie Point.]

_____.. “Tourist in the City of Youth.” In P. Kael, Kiss Kiss Bang Bang (New York, 1965),

pp. 31-37. [On Blow-Up.]

Kauffmann, Stanley. “Antonioni.” The New Republic 172 (April 19, 1975): 22, 34. (On The Passenger.| —____.. “The Artist Advances.” In Renaissance of the Film, edited by Julius Bellone (New York, 1970), pp. 211-17. [On // deserto rosso.)

—___—. “A Year With Blow-Up: Some Notes.” In Film 1967-68, edited by Richard Schickel and John Simon (New York, 1968), pp. 274-81. —_—__.. “Zabriskie Point.” The New Republic 162 (March 14, 1970): 20, 31. Kawin, Bruce. Mindscreen. Princeton, N. J., 1978. Kinder, Marsha. “Antonioni in Transit.” Sight and Sound 36 (Summer 1967): 132-37. [On Blow-Up.] —_—_—.. “Zabriskie Point.” Sight and Sound 38 (Winter 1968/69): 26—30. Kinder, Marsha, and Beverle Houston. “‘Blow-Up.” In M. Kinder and B. Houston, CloseUp: A Critical Perspective on Film (New York, 1972), pp. 255-62.

28-31.

Knight, Arthur. “Blow-Up.” Film Heritage 2 (1967): 3—S. |

Kozloff, Max. “The Blow-Up.” In Focus on Blow-Up, edited by Roy Huss (Englewood Cliffs, N.J., 1971), pp. 58-63; first published in Film Quarterly 20, no. 3 (Spring 1967): Lane, John Francis. “Antonioni Diary: A Day-to-Day Record of Work on The Eclipse.” Films and Filming 8, no. 6 (March 1962): 11-12, 46. Lawson, Sylvia. “Notes on Antonioni.” Sydney Cinema Journal 2 (1966): 9-18. Leprohon, Pierre. Michelangelo Antonioni. Translated by Scott Sullivan. 2d ed. New York, 1969. Lesser, Simon O. “‘L’ Avventura: A Closer Look.” Yale Review 54 (1964): 41-—S0.

Lockerbie, Ian. “La difficulté d’étre.” Etudes cinématographiques, nos. 36—37. (1964), pp. 85-91. (On L’eclisse.} Lotman, Jurij. “Problems of Semiotics.” In J. Lotman, Semiotics of Cinema, translated by Mark E. Suino (Ann Arbor, 1976), pp. 97-105. [On Blow-Up.] Lyons, Robert J. Michelangelo Antonioni’s Neo-Realism: A World View. New York, 1976. MacDonald, Dwight. Dwight Macdonald on Movies. Englewood Cliffs, N.J., 1969. [Contains essays on L‘eclisse and Il deserto rosso.]

Macklin, Anthony. “Zabriskie Point.” Film Heritage 3 (1970): 22-25. ~.

SELECTED BIBLIOGRAPHY 279 Mancini, Michele. “Il corpo e la favola (Antonioni, Straub-Huillet).” Filmcritica, no. 252

(1975), pp. 84-88. ;

Martin, Marcel. “Antonioni: En souvenir de Conrad.” Ecran, no. 51 (1976), pp. 2-3. [On the Australian project anticipating The Crew.] Mechini, Piero, and Roberto Salvadori, eds. Rossellini, Antonioni, Bunuel. Padua, 1973. [Contains articles on Antonioni by Adelio Ferrero and Giorgio Tinazzi and an excellent bibliography by Enrico Pratesi and Andrea Vannini of Italian books and articles on Antonioni published between 1964 and 1973. ] Meeker, Hubert. “Blow-Up.” Film Heritage 2 (1967): 7-15. Micchiché, Lino. “Sur Profession: Reporter.” Ecran, no. 36 (1975), pp. 46—48. “Michelangelo Antonioni.” Camera/Stylo 3 (1982): whole issue. (Contains articles by Bensard, Blum, Bolleme, Cany, Collet, Crotta, Farges, Gauville, Helmskin, Hussenot,

Joubert, Laigle, Lamoulen, Lauraus, Lockhart, Noquez, Sebbay, and Simsolo, plus : French translations of Antonioni’s introductions to the screenplays of I deserto rosso and Chung Kuo Cina.]

“Michelangelo Antonioni.” Positif, no. 30 (July 1959): whole issue. [Contains an interview with Antonioni and articles by Antonioni (“Une journée,” a journal entry from Nice, 1942), Robert Benayoun, Jacques Demeure, Ado Kyrou, Louis Sequin, Roger Tailleur, P.-L. Thirard, and Glauco Viazza and P. -L. Thirard.] Micheli, Sergio. “Il personaggio feminile nei film di Antonioni.” Bianco e nero 28, no. 1

(1967): 1-9, ,

Il mistero di Oberwald.n.p., 1980. [RAI brochure. Contains articles by Antonioni (“Quasi una confessione”’) and Massimo Fichera and an interview with Monica Vitti.] Moravia, Alberto. “‘E esplosa pure l’arte di Antonioni.” In Michelangelo Antonioni, Za-

briskie Point (Bologna, 1970), pp. 11-17.

____—. “Un nuovo sensa della realta.” L’ espresso, February 26, 1961. Moses, Gavriel, Eclipse: Opening Sequence. New York, 1975. Nowell-Smith, Geoffrey. “La notte.” Sight and Sound 31 (Winter 1961/62): 28-31. —____—. “Shape Around a Black Point.” Sight and Sound 33 (Winter 1963/64): 16—20. [On L’avventura and L’eclisse.} Ongaro, Alberto. “‘ Antonioni: Nous en savons trop sur le soleil.” Ecran, no. 36 (1975), pp.

42-45.

Paolucci, Anne. “The Italian Film: Antonioni, Fellini, Bolognini.” Massachusetts Review 7 (1966): 560-62. Pasolini, Pier Paolo. ““The Cinema of Poetry.” In Movie and Methods, edited by Bil] Nichols (Berkeley, 1976), pp. 543-58. ____—. Dialogue en publique. Edited by B. Ferretti. Paris, 1980. Pechter, William. “Antonioni ’75.” Commentary 60 (1975): 69-72. Perrin, Claude. “L’univers fragmenté de L’avventura.” Etudes cinématographiques, nos. 36-37 (1964), pp. 40-46. Perry, Ted. “‘Men and Landscapes: Antonioni’s The Passenger.” Film Comment 11 (1975):

2-6.

—_____.. “A Contextual Study of Michelangelo Antonioni’s Film L’Eclisse.”” Speech Mono-

graphs 37 (1970): 79-92. Pignotti, Lamberto. ‘‘Realismo e oggetivita di Antonioni.” In Michelangelo Antonioni,

edited by Carlo Di Carlo (Rome, 1964), pp. 72-86. , |

Pingaud, Bernard. “Antonioni et le cinéma réel.”” Preuves, no. 117 (November 1960), pp. 63-66, reprinted in Michelangelo Antonioni, edited by Carlo Di Carlo (Rome, 1964), pp. 214-20. Ranieri, Tino. Michelangelo Antonioni. Trieste, 1958. Ranvaud, Don. “// Mistero di Oberwald.” Monthly Film Bulletin 48 (September 1981): 180. Reggiani, Stefano. “‘L’ altro occhio della realta.” In Professione: Reporter, edited by Carlo Di Carlo (Bologna, 1975), pp. 11-25.

280 SELECTED BIBLIOGRAPHY . Reisz, Karel, and Gavin Millar. The Technique of Film Editing. New York, 1968. Renzi, Renzo. “‘Cronache dell’ angoscia in Michelangelo Antonioni.” Cinema nuovo, no. 139 (1959), p. 214. - Rifkin, Ned. Antonioni’s Visual Language. Ann Arbor, 1982. Robinson, David. “The Shapes We Make.” London Times, June 6, 1975, p. 12. [On The

Passenger. | a

Roemer, Michael. “The Surfaces of Reality.” In Perspectives on the Study of Film, edited by John Katz (New York, 1971), pp. 98-109. Ropars- Wuilleaumier, Marie-Claire. L’ écran de la mémoire. Paris, 1970. _____.. “L’espace et le temps dans l’univers d’ Antonioni.” Etudes cinématographiques, nos. 36-37 (1964), pp. 17~—33. Roud, Richard. “The Passenger.” Sight and Sound 44 (Summer 1975): 134—36. —___.. “The Red Desert.” Sight and Sound 34 (Spring 1965): 76-80. Salinari, Carlo. Miti e coscienza del decadentismo italiano. Milan, 1960. Samuels, Charles Thomas. “The Blow-Up: Sorting Things Out.” American Scholar 37 (1967-1968): 120—31. —_____.. *’ Puppets: From Z To Zabriskie Point.” American Scholar 39 (1970): 678-91. Sarris, Andrew. “An End to Antonioniennui.” The Village Voice, April 14, 1975, pp. 75—

76. (On The Passenger. | — , —__.__ . Confessions of a Cultist. New York, 1961. [Contains essays on Blow-Up and I] deserto rosso. | ,

ventura.| , ,

Sequin, Louis. “La fin de l’été avec Monica.” Positif no. 38 (1961), pp. 12—31. [On L’avSimon, John. Movies into Film. New York, 1971. [Contains an essay on Zabriskie Point.] Simon, John, and others. “ Zabriskie: What’s the Point?” Film Heritage 3 (1970): 26—40. Slover, George. ““Blow-Up: Medium, Message, Mythos, and Make-Believe.” Massachusetts Review 9 (1968): 753-70.

Soby, J.T. Giorgio de Chirico, New York, 1955. ,

Sontag, Susan. “Film and Theatre.” In Film Theory and Criticism, edited by Marshall Cohen and Gerald Mast (New York, 1974), pp. 249-67. Spinazzola, Vittorio. “Michelangelo Antonioni regista.” In V. Spinazzola, Film 1961 (Mi-

lan, 1961), pp. 29-62.

- Stanton, E. F. “Antonioni’s The Passenger: A Parabola of Light.” Literature/Film Quarterly 5 (Winter 1977): 57-67. Stewart, Garrett. ““Exhumed Identity: Antonioni’s Passenger to Nowhere.” Sight and Sound 45 (Winter 1975/76): 36—40. Strick, Philip. “The Antonioni Report.” Sight and Sound 43 (Winter 1973/74): 30-31. [On The Passenger.| ______.. Antonioni. London, 1963. Tailleur, Roger, and Paul-Louis Thirard. Antonioni. Paris, 1963. Tassone, Aldo. “Profession: Reporter.” Image et son 297 (June 1975): 106-9. Taylor, John Russell. Cinema Eye, Cinema Ear. New York, 1964. Thirard, Paul-Louis. Michelangelo Antonioni. Lyons, 1960.

Tilliette, Xavier. “Cadrages sur Antonioni.” Etudes cinématographiques, nos. 30-31 (1961), pp. 89-101. [On La notte.] ;

___.. “Le mirage et le désert.” Etudes cinématographiques, nos. 36—37 (1964), pp. 98-103. - Tinazzi, Giorgio. Michelangelo Antonioni. Florence, 1974. Tiso, Ciriaco. “Prassi e procedimenti narrativi del film.” Filmcritica, no. 252 (1975), pp. 64—67.

SELECTED BIBLIOGRAPHY 281

(1975), pp. 74—76. ,

Tomasino, Renato. “ Antonioni: II meta-segno del cinema ‘astratto.’” Filmcritica, no. 252 Trebbi, Fernando. // testo e lo sguardo. Bologna, 1976. [On The Passenger. | Tyler, Parker. “Masterpieces by Antonioni and Bergman.” In Film Theory and Criticism, edited by Marshall Cohen and Gerald Mast (New York, 1974), pp. 43-59. [On Blow-Up] Voglino, Bruno. Michelangelo Antonioni. Turin, 1959. Volpi, Gianni. “‘Struttura, tecnica, e stile di Cronaca di un amore,” Centrofilm, nos. 36-37 (1965), pp. 50-54. Walsh, Martin. “The Passenger: Antonioni’s Narrative Design.” Jump Cut 8 (August-— September 1975): 8-13. Wood, Robin. “Zabriskie Point.” Movie 18 (1970—1971): 21—23. Worringer, Wilhelm. Abstraction and Empathy. Translated by Michael Bullock. New York, 1953. [Originally published in 1908 as Abstraktion und Einfiihlung. | Young, Colin. “Red Desert.” Film Quarterly 19 (Fall 1965): 51-54. Zand, Nicole. “Un présent inadapté.” Etudes cinématographiques, nos. 36—37 (1964), pp. 104-8. [On I1 deserto rosso.\ Zorzi, Ludovico, and Lucio Armando. “Cinema: Antonioni e L’avventura.” In Michelangelo Antonioni, edited by Carlo Di Carlo (Rome, 1964), pp. 379-90. Zucker, Paul. Town and Square: From the Agora to the Village Green. New York, 1959.

BLANK PAGE

Film characters discussed in this book appear in the Index under their first names.

Achebe, in The Passenger, 183, 194, 198, “Antonioni in Transit” (Kinder), 256

200 ‘* Appunti per una psicologia dell’

Adventure, The. See Avventura, L’ irrelevante’”’ (Amerio) 249 Aigle a deux tétes, L’ (Cocteau), 202-3, Arcalli, Franco (Kim), 236

208-9 Architect, in Le amiche, 33—34, 36

A la recherche du temps perdu (Proust), 75 Arizona Jim, in Le crime de M. Lange, 16,

Aldo, in II grido, 13, 39-43, 45-50, 61, 221

90, 93 Arnheim, Rudolf, 103, 110, 252

167 Astor, Mary, 12

Allen, in Zabriskie Point, 159, 160, 161, Arturo Botta, in / vinti, 22

Allen, Woody, 224 | Aubrey Hallan, in / vinti, 24 * Amanti celebri” (Bolognini), 136 Avventura, L’ (Antonioni), 2, 3, 15—16, Amato, Giuseppe, 1 51-52, 243; character development in, “America” (Nannini), 263 11, 93-94, 111, 112, 223; cinematic

American Tragedy, An (Eisenstein), 95 form in, 79—80, 115-17, 118, 122-23,

Amerio, Piero, 249 127-31, 212; imagery in, 34, 36, 38,

Amiche, Le (Antonioni), 33-38, 79, 93, 68-72, 99, 106; narrative structure in, 152, 247, 248; cinematic form in, 46, 75-77, 114; relationships in, 54-57,

115, 118 249; scenic background in, 5, 47, 102,

Amore (Rossellini), 202 199, 261; sound in, 133, 134, 234;

Amore in citta (Zavattini et al.), 26, 247 suspense in, 194, 241; thematic , Amorosa menzogna, L’ . See Amorous development in, 61-63, 141, 186-87,

Lie, The 217, 237. See also specific characters

Amorous Lie, The (Antonioni), 5, 10—11, 149

André, in / vinti, 22, 24 ‘*Babas del diablo, Las,” (Cortazar), 139,

Andreina, in Il grido, 40, 49 153, 257

Anna, in L’avventura, 51-52; character Baldelli, Pio, 247 development of, 16, 67, 88, 227, 242; Bardacke, Frank, 162 cinematic form and, 116, 127; and Barthes, Roland, 1, 79, 258 relationships, 57, 60, 61, 62; scenic Bartolini, Elio, 45, 256 background for, 68-69, 102; thematic Battleship Potemkin, The (Eisenstein), 168

development through, 63, 70, 76 Bazin, André, 259

~ Anselmi, Guido, in 84/2, 222 Beckett, Samuel, 55 283

284 INDEX Bergman, Ingmar, 2, 83 Clara Manni, in La signora senza camelie,

Berlin Alexanderplatz (Fassbinder), 211 28-32, 93, 247, 248

Bernardini, Aldo, 247 Clarissa, in Mrs. Dalloway, 254

Bia, Ambroise, 183 Claudia, in L’avventura, 51-52, 112, 172,

“Big Two-Hearted River” (Hemingway), 234; character development of, 87, 89,

96 93-94, 133, 201, 256; cinematic form

Blade Runner (Scott), 223, 237 and, 80, 115-17, 123, 127-31, 255; and

Blair, Betsy, 39, 44 sexuality, 56-57, 60, 72, 249; thematic

Blow-Up (Antonioni), 83, 138-58, 161, development through, 55, 63, 70, 239, 243; cinematic form in, 136, 172, 76-77, 83, 186

189, 211, 232, 258-59; scenic ‘Claudio, in / vinti, 23, 24 background in, 24, 137; sexuality in, Clelia, in Le amiche, 33-34, 36, 93 177, 179; thematic development in, 3, Cochran, Steve, 38, 40, 43, 163 166, 186, 194, 200, 241, 255. See also Cocteau, Jean, 202—3, 206, 208-9, 211,

specific characters 263

Boccaccio’ 70 (Fellini), 247 Colombo, Furio, 262

Bogart, Humphrey, 12 Corrado, in L’avventura, 86 ,

Boisson, Christine, 215, 227-28 Corrado Zeller, in // deserto rosso, 53, 164,

Bolognini, Mauro, 136 242; cinematic form and, 123, 126, Bonacelli, Paolo, 204 132, 211; and sexuality, 57, 59-60, 84, Bond, Edward, 162, 257 251; thematic development through, Bondanella, Peter, 247 61, 62, 63, 83 , Bonheur, Le (Varda), 260 Cortazar, Julio, 139, 257

Bonitzer, Pascal, 197 Cortese, Valentina, 33

“Bosco bianco, Il” (Antonioni), 256 Costa-Gavras, Constantine, 218

Bosé, Lucia, 12, 28, 247 Count of Féhn, in // mistero di Oberwald,

Bozzufi, Marcel, 214 204, 211

Branciaroli, Franco, 204 Crew, The (Antonioni), 239 Brando, Marlon, 189 Crime de M. Lange, Le (Renoir), 221 Brecht, Bertolt, 121, 211 Cronaca di un amore (Antonioni), 9,

Bresson, Robert, 95—96, 163, 246 12-21, 26, 247, 248; cinematic form

Brooks, Louise, 222, 235 in, 23-24, 31, 46, 115—16; thematic

Bunuel, Luis, 197, 262 development in, 55-56, 74, 75-76, 93 Burch, Noél, 19-20, 198, 262 , Crowther, Bosley, 251 Cuccu, Lorenzo, 254 Cuny, Alain, 29 —

Callenbach, Ernest, 260 Curb, Mike, 260 Cameron, Ian, 41—42

Caprana, Valerio, 264 D’ Amico, Suso Cecchi, 33--34, 2-47

Carlo, in Le amiche, 33, 34, 36 Daria, in Zabriskie Point, 1S9—60, 163-64, Charles Foster Kane, in Citizen Kane, 16, 167, 182

192 Da Roma, Eraldo, 236

Chatman, Seymour, 75 David Locke, in The Passenger, 177,

Checchi, Andrea, 28 182-99; character development of, 181, Choureau, Etchika, 22 200-202, 231; thematic development

Chou-en Lai, 261 224, 242, 262; cinematic form and, Chung Kuo Cina (Antonioni), 169-75, through, 61, 143, 164, 166, 180

260 De Cespedes, Alba, 33-34, 247

Citizen Kane (Welles), 16, 192 De Chirico, Giorgio, 102, 254 Citta delle donne (Fellini), 263 Defeated, The. See Vinti, I

Ciurme, La (Antonioni), 239 De Laurentiis, Dino, 136

INDEX 285 Delon, Alain, 52, 163 Enrico Fontana, in Cronaca di un amore,

De Pra, Carlo, 53, 163 12, 15-19

Desert of Money, The (Antonioni), 85 E.T. (Spielberg), 223 Deserto dei soldi, I! (Antonioni), 85 Ettore Manni, in La signora senza Deserto rosso, [1 (Antonioni), 3, 51, 53, camelie, 33 163, 243, 256; character development Ewers, Hanns, 185, 261 in, 43, 90-91, 113, 119-21, 250;

cinematic form in, 8, 82, 153; color in, - on. 131-35, 157, 210, 211; point of view in, fepew! pee an 44.36 97-98, 196, 253; setting in, 16, 36-37, Farb er, Manny, 255 , 99, 126-27, 137, 199; sexuality in, Farra, Niccold. See Niccolo Farra 59—60, 68, 164; title imagery of, 70, “Fatal Exit” (Peploe), 176, 186

73. See also specific characters Father of Anna, in L’avventura, 68-69,

De Sica, Vittorio, 163, 246 102

Desny, Ian, 29 Fausto, in / vitelloni, 34 Detective, in Cronaca di un amore, 12, 74, Fellini, Federico, 2, 11, 245, 248;

Diary of a Chambermaid (Bunuel), 262 thematic development and : 002.

iberti, Luigi, Nal

mel ky coumny Priest (Bresson), 95 959. 263 ‘ Di Carlo, Carlo, 246, 247, 249 rena Venera 246 Di Palma, Carlo, 136 Ferrero, Anna Maria, 23 Drago, Eleonora Rossi, 33 Ferzetti, Gabriele, 34, 51, 55 Dreiser, Theodor e, 95 Fink, Guido, 256

Dreyer, Carl Theodor, 241 Fiore e la violenza, 11 (Antonioni, Renoir,

Dubliners (Joyce), 101-2 Reichenbach) 6

Duke of Willenstein, in // mistero di Fischer, Madel ein e, 33

Oberwald, 204, 212 Fitzgerald, F. Scott, 253 Dumas, Alexandre, 29 Flaubert, Gustave, 253 Flower and the Violence, The. See Fiore e la violenza, Il

Eclisse, L’ (Antonioni), 2, 3, 28, 51, 243; Francesca, Piero della, 115 character development in, 84-85, 253; Freccero, John, 258, 259

cinematic form in, 81--82, 115, 117, Frechette, Mark, 159, 160, 162—63 | 126, 158; imagery in, 11, 68, 70-73, Frenzy (Hitchcock), 24, 232 99, 223, 250-51; scenic backgroundin, Freud, Sigmund, 56, 249 5, 16-17, 106-12, 113, 219; thematic From Mao to Mozart (Lerner), 260 development in, 8, 52—53, 59-66, 96, Fu Mattia Pascal, I] (Pirandello), 185 248, 255. See also specific characters Funicular of Mount Faloria, The

Eclipse, The. See Eclisse, L’ (Antonioni), 5, 245 . Eco, Umberto, 174—75, 261 Funivia del Faloria, La (Antonioni), 5, 245 Edera, in Il grido, 39 Furneaux, Yvonne, 33 Edith de Berg, in Il mistero di Oberwald, Fusco, Giovanni, 23, 38, 50, 133 204, 212

8/2 (Fellini), 2, 31, 222, 238, 248

Eisenstein, Sergei M., 95-96, 168, Gang of Four, 261

227-28, 241, 259 Gauthier, Marguerite, in Camille, 29

Eliot, T. S., 47, 90 Genette, Gérard, 262

Elvira, in II grido, 39 Gente del Po (Antonioni), 5—11, 24, 39, “Enchanted Mountains, The” (Antonioni), 40, 60-61, 101

255-56 Georges, in / vinti, 22

286 INDEX Ghione, Riccardo, 26 Hemingway, Ernest, 96

Gianni Franchi, in La signora senza Hemmings, David, 138, 152, 163

camelie, 28-31 Hendry, Ian, 183

Gilman, Richard, 54, 249 Hitchcock, Alfred, 15, 21, 194, 232. See Giovanni Pontano, in La notte, 13-14, 52, also specific films 172, 229; character development of, 43, Hoffmann, E. T. A., 185 121, 224, 242; cinematic form and, 70, | Hopper, Edward, 167 116; and sexuality, 57-58, 83-84, 112, | Horney, Karen, 84 214; thematic development through, 61, | Houston, Penelope, 256

63, 68, 75, 87 oe

Girl, in Blow-Up, 138, 142-43, 145-59,

258, 259 I Am a Camera (Van Druten), 205

Girl, in The Passenger, 176-77, 182, Ida, in Identificazione di una donna,

183-85; thematic development 215-16, 225; character development of, through, 30, 187, 188-89, 194, 262 227-28, 229; cinematic form and, Girl, in Technically Sweet, 176, 177-79, 233-34, 237, 238; and sexuality, 219,

180, 181-82 223-24, 226 Girlfriends, The. See Amiche, Le | Identificazione di una donna (Antonioni), Girotti, Massimo, 12 3, 61, 213-39, 254, 263, 264

Giulia, in L’avventura, 57 Indovina, Franco, 136

Giuliana, in // deserto rosso, 53, 73, 211, Interlinghi, Franco, 23 229, 256; character development of, Irma, in I! grido, 39, 40, 42, 43, 48-50

43, 63-64, 113, 118, 242, 249; | ,

cinematic form and, 90--91, 97, Jakobson, Roman, 68 119-23, 126-27, 132-33, 134-35, Jalousie, La (Robbe-Grillet), 96, 253 253; and sexuality, 57, 59, 84; thematic Jancso, Miklos, 125 development through, 62, 83, 107, 164, Joy, in Cronaca di un amore, 16

222, 223 . | | Joyce, James, 74, 75, 96, 102, 189

Vion ao in L’avventura, 51,52,56, Juliet of the Spirits (Fellini), 248 Godard, Jean-Luc: as filmmaker, 199, 241,

243: as interviewer, 102, 119-20, 122, Kael, Pauline, 252

249, 251 | Kauffmann, Stanley, 132, 163, 166 Gorilla, in Identificazione diunadonna, awin, Bruce, 84

213, 216, 217, 237 Kierkegaard, Sgren, 55 Gray, Dorian, 39 Kite, The (Antonioni), 197 Gow, Gordon, 168, 260 Kinder, Marsha, 258

Grido, Il (Antonioni), 3, 34, 39-50, 112, Knight, in The Passenger, 183, 185, 192,

242, 243; character development in, 13, 193-94 15, 55; cinematic form in, 9, 133; _ Kozloff, Max, 258

also specific characters , , ; thematic development in, 90, 166. See

Grieg, Edvard H., 238 racy Wahout came lias, The. See Signora

Griffith, David W., 17 Lane Fritz 16.1 g, Fritz, 16, 17, 26.

Guerra, Tonino, 176, 256 _ Last Tango in Paris, (Bertolucci), 181, 189 Guido Garroni, in Cronaca di un amore, Late Mattia Pascal, The (Pirandello), 185

2, 13-19, 14,93 , “Latin Lover” (Indovina), 136 Gyurko, Lanin, 257 Leprohon, Pierre, 45, 245, 247 Lerner, Murray, 260

Halprin, Daria, 159, 160, 163, 164 ““Let’s Talk About Zabriskie Point’

Hancock, Herbie, 158 (Antonioni), 260

Harris, Richard, 53 Levin, Samuel R., 257

INDEX 287 Lidia Pontano, in La notte, 52, 55,93, 172; | Mondrian, Piet, 118-19 character development of, 13—14, 30, Momina De Stefani, in Le amiche, 33, 34,

67-68, 233, 242, 252; cinematic form 152 | and, 95-96, 105—6, 116, 223, 229, “Montagne incantate, Le” (Antonioni),

262; and relationships, 43, 57, 83-84, 256 | , 87; thematic development through, 61, | Morandi, Giorgio, 167

63, 69-70, 75, 102, 118 Moravia, Alberto, 141, 249 Lizzani, Carlo, 248 Moreau, Jeanne, 52, 55, 96, 163, 227, 252

Llobet, Miguel, 202 Morgenstern, Joseph, 164 Locke, David. See David Locke Moses, Gavriel, 248

Lodi, in La signora senza camelie, 29 ‘Most Prevalent Form of Degradation in

Lollobrigida, Gina, 247 Erotic Life, The” (Freud), 56 Loren, Sophia, 247 | Mrs. Dalloway (Woolf), 98, 254

Lorenzo, in Le amiche, 33, 34, 35, 37 Mucchio di bugie, Un (Antonioni), 119

Lotman, Jurij, 259 Mulvehill, Chuck, 183

_ Mystery of Oberwald, The. See Mistero di

M (Lang), 16, % Oberwald, Il MacDonald, Dwight, 250, 251 oo,

Maltese Falcon, The (Huston), 12 Nannini, Gianna, 219, 238, 263 |

259 camelie, 29, 30

Man, in Blow-Up, 138-39, 143, 145-49, Nardo Rusconi, in La signora senza

Manceaux, Michele, 250 Nene, in Le amiche, 33 Manhattan (Allen), 80, 224 Netteza urbana. See N.U.

Man Who Knew Too Much, The Niccolo Farra, in [dentificazione di una

(Hitchcock), 143 donna, 61, 213—38, 254, 263, 264

Marguerite Gauthier, in Camille, 29 Nicholson, Jack, 163, 176, 181, 182, 188,

Mariana, in / vinti, 23 198 | Maria Vittoria Luppis. See Mavi Night, The. See Notte, La

Mariella, in Le amiche, 33, 34, 36, 37 Notorious (Hitchcock), 149 Mario, in Identificazione di una donna, Notte, La (Antonioni), 2,3, 36, 51, 52,

214, 219, 222 243; cinematic form in, 72, 82, 116,

Marion Crane, in Psycho, 252 134; imagery in, 69-70, 72, 112, 223; Mark, in Zabriskie Point, 61, 159-67, 181 scenic background in, 5, 16-17,

Massari, Lea, 51, 227 102-5, 113, 252-53; thematic

Mastroianni, Marcello, 52, 163 development in, 54-55, 57-58, 61,

Maupassant, Guy de, 185 180, 198, 248. See also specific

Mavi, in Identificazione di una donna, characters

213-15, 217-18, 233; cinematic form Nowell-Smith, Geoffrey, 87-88, 126, 248,

and, 222, 223, 229-31, 235, 236-38; 250, 252, 254 and sexuality, 219-21, 224, 225-27 N.U. (Antonioni), 5, 6-9, 11, 133

Micciché, Lino, 1, 246 Nymphomaniac, in La notte, 52, 57-58, Michel, Roberto, in “Las babas del 91, 119-22, 255 diablo,” 139, 153, 257

Mildred Pierce (Curtiz), 19 October (Eisenstein), 168 Milian, Tomas, 213, 226, 263 O’ Hara, Annie, in L’amorosa menzogna, Mimes, in Blow-Up, 138, 141, 151, 152, 10, 11

157, 257 Old man, in L’avventura, 76, 128-29

Mistero di Oberwald, Il (Antonion)), 3, Oppenheimer, J. Robert, 176 202-12, 222; cinematic form in, 73, Orchestra Rehearsal (Fellini), 44

132, 236, 237, 250 O’Shaughnessy, Brigid, in Maltese Falcon,

Mocky, Jean-Pierre, 22 | 12

Models, in Blow-Up, 137, 138, 153 Ossesione (Visconti), 5, 13, 46

288 INDEX **Pack of Lies, A” (Antonioni), 119 Rabal, Francisco, 52, 84

Paisa (Rossellini), 13 Rachel Locke, in The Passenger, 183-86,

Pallotta, Gabriella, 39 192-94, 196 ,

Pancani, Annamaria, 33 Raimondo, in L’avventura, 57, 141 Paola Fontana, in Cronaca di una amore, Rank, Otto, 185

12, 13-19, 74, 76, 93 Red Desert. See Deserto rosso, Il Pasolini, Pier Paolo, 97-98, 115, 125 Red Detachment of Women (People’s

Passenger, The (Antonioni), 168, Republic of China), 175 182-202, 236, 239, 243, 262;character Redgrave, Vanessa, 138

development in, 162, 224, 229, ~ Reichenbach, Francois, 26 232-33, 242, 261; cinematic form in, Renoir, Jean, 19, 26, 115, 221, 246 8, 9, 176-77, 231, 254; escapism in, Resnais, Alain, 240 61, 164, 166, 180; thematic development Reynolds, Peter, 24

in, 3, 30, 143, 181, 223, 241 Riccardo, in L’eclisse, 52, 224; character Patricia, in Blow-Up, 140-41, 152, 232 development of, 84, 86; and relationPatrizia, in L’ avventura, 57, 116—17 _ Ships, 59, 60, 83, 89; thematic

Pavese, Cesare, 33-34, 247,248 development through, 49, 61, 62,

Pedoni, Cesare, architect in Le amiche, 91-92 | 33—34, 36 Ringo Kid, in Stagecoach, 16

People of the Po. See Gente del Po Robbe-Grillet, Alain, 87, 96, 253, 255

Peploe, Mark, 176, 186 : Roberto, in La notte, 52, 223

Perkins, Gloria. See Gloria Perkins Robertson, in The Passenger, 183~89,

Perry, Ted, 262 194—96, 231, 262, 263

Persona (Bergman), 2 | Rohmer, Eric, 243

Phantom of Liberty, The (Bunuel), 197 Rolling Stone, 161 Piero, in L’eclisse, 52—53, 172, 229; Ron, in Blow-Up, 140, 142 character development of, 83, 84, 91, Ropars-Wuilleaumier, Marie-Claire, 252,

242; cinematic form and, 80, 81-82, 253 ,

108-12, 223, 251; thematic develop- Rosetta Savoni, in Le amiche, 33, 34, 35,

ment through, 59, 60, 61, 66, 250, 251 37, 248

Pierre, in / vinti, 22 Rosi, Francesco, 218, 248

Pinelli, Tullio, 244, 270 Rosina, in Il grido, 39, 47, 49 Pingaud, Bernard, 253 | Rossellini, Roberto, 13, 202, 246

Piovene, Guido, 250 Rothko; Mark, 54, 249 Pirandello, Luigi, 185 Roversi, Roberto, 225, 264 Poe, Edgar Allan, 185 Runacre, Jenny, 183 Ponti, Carlo, 138, 176, 182 :

13 , Salinari, Carlo, 247 Pozzi, Elisabetta, 204 m Sam Spade, in The Maltese Falcon, 12

Postman Always Rings Twice, The (Garnett), S., in Technically Sweet, 176-82, 261

Pretazione. See “Provino, I Sandro, in L’avventura, 34, 51-52, 112;

Profession: Reporter. See The Passenger character development of, 13-14, 42,

Proust, Marcel, 74, 75, 241 214, 224, 242; cinematic form and, 80, oO il (Antonioni), 3, 31, 136—38, 100-101, 122-23, 127-31, 134, 234;

, } and sexuality, 30, 56—57, 60-61, 83, - 55, 62-64, 70-72, 76-77,

: 172

Psycho (Hitchcock), 80, 252 249; thematie development through,

Queen, in // mistero di Oberwald, 203-4, Sarmi, Ferdinando, 12 |

206, 208-9, 212 Sarris, Andrew, 133

Quel bowling sul Tevere (Antonioni), 202 Scale (Antonioni), 101

INDEX 289 Sceicco bianco, Lo (Fellini), 11, 246 Tarrega, Eixea, 202 Schneider, Maria, 163, 176, 181, 183 Tassone, Aldo, 182

Schoenberg, Arnold, 206 Taylor, John Russell, 43-44

Scott, Zachary, 19 Taylor, Rod, 159, 163 “Screen-Test, The.” See “Provino, Il” Tazzi, Pier Luigi, 256

Screenplays of Michelangelo Antonioni, Teacher, in Cronaca di un amore, 76

The (Antonioni), 72—73 Technically Sweet (Antonion1), 141, | Scriabin, Alexander, 238 176—82, 194, 261; death in, 166,

208-9, 211 164, 187, 254 | Sei film (Antonioni), 73 Tecnicamente dolce. See Technically Sweet Sebastian, in // mistero di Oberwald, 204, 189, 190; thematic development in,

Selz, Peter, 249 Tentato suicidio (Antonioni), 22, 26—28, Senso (Visconti), 206 “Terra verde” (Antonioni), 250

Semiotics of Cinema (Lotman), 258 247, 248

Sergio Raimondi, in L’amorosa menzogna, Tetralogy: character development in,

10 15-16, 83-84, 93-94, 224, 252; Sette canne, un vestito (Antonioni), 5, 245 cinematic form in, 80, 114, 232; Seven Reeds, One Suit (Antonioni), 5, 245 imagery in, 67, 102, 154; thematic

Shadow of a Doubt (Hitchcock), 24 development in, 55, 66-67, 73-74, 78. Signora senza camelie, La (Antonioni), See also Avventura, L’ ; Deserto rosso,

9~—32, 33, 34, 79, 248; cinematic form Il; Eclisse, L’ ; Notte, La | in, 36, 38. See also specific characters There Was Shooting Tonight (Antonioni),

Silverio, Daniela, 213, 227, 237 218, 246 Simon, John, 164, 167 Thirty-Nine Steps, The (Hitchcock), 149 Simone, in / vinti, 22 Thomas, in Blow-Up, 138-57, 238,

Slover, George, 257 258-59; character development of, Snow, Michael, 199 201, 242; thematic development Son of Giuliana, in // deserto rosso, 53, 60, - through, 61, 232, 257

85, 92, 132 Three Faces, The. See I tre volti

Sontag, Susan, 45 Tommaso, in La notte, 52, 57-58, 75, 105— Soraya, in / tre volti, 136—37 6, 116, 247

Stagecoach (Ford), 16, 80 Too Many People (Ferrari), 213, 246 Stanotte hanno sparato (Antonioni), 218, To the Lighthouse (Woolf), 75

247 | “Tra donne sole” (Pavese), 33-34

Star Wars (Lucas), 237 Tre volti, 1(Antonioni, Bolognini, Inovina)

Steps (Antonioni), 102 3, 31, 136-37, 249

Stern, Isaac, 260 Truffaut, Francois, 243 Sternberg, Joseph von, 154, 241 Tucci, Niccolo, 176

Story and Discourse (Chatman), 75 2001 (Kubrick), 237 Story of a Love Affair. See Cronaca di un

amore Ugo, in Il deserto rosso, 53, 83, 84, 92,

Strangers on a Train (Hitchcock), 24 132, 163

Strauss, Richard, 206 Ulysses (Joyce), 75, 102

Strick, Philip, 42, 248 Uomini in pit (Ferrari), 213, 246 Student of Prague, The (Ewers), 185

Suicide Attempt. See Tentato suicidio Valentina Gherardini, in La notte, 52, 58,

Superstition (Antonioni), 5, 10, 11 70

Superstizione (Antonioni), 5, 10, 11 Valerio, in Cronaca di un amore, 16

Valli, Alida, 39 .

T., in Zechnically Sweet, 164, 176-82, 187, Vandor, Ivan, 263

189, 254, 261 Van Druten, John, 205

290 INDEX Varda, Agnés, 260 Walsh, Martin, 198, 199 Venanzo, Gianni di, 34, 248 Warhol, Andy, 211-12

Verushka, in Blow-Up, 138, 141, 152-53, Watts, Alan, 190

155-57 Wayne, John, 16

Viaggio in Italia (Rossellini), 13 Welles, Orson, 16, 19, 115, 192, 242 Villa dei mostri, La (Antonioni), 5, 245 “White Elephant Art Versus Termite Art”

Villa of the Monsters, The (Antonioni), 5, (Farber), 255 |

245 White Sheik, The (Fellini), 11, 246

247, 248 Wilde, Oscar, 185 . Virginia, in I! grido, 39, 40, 47, 49 Wollen, Peter, 199 :

Vinti, 1(Antonioni), 21—26, 28, 158, 246, “White Woods, The” (Antonioni), 256

Visconti, Luchino, 5, 13, 46, 206 _ Woman antique shop owner, in Blow-Up,

Visiteurs du soir, Les (Carné), 246 141 Vitelloni, I (Fellini), 34 Woolf, Virginia, 67, 74, 75, 98, 253-54

Vitti, Monica, 163, 227, 228; as Claudia, Worringer, Wilhelm, 118-19 51, 55; as Giuliana, 53, 84, 249, 253; as _ Queen, 202, 203, 206-8; as Vittoria, 52 Vittoria, in L’eclisse, 16, 52—53, 73, 172; Yardbirds, 158

‘ character development of, 78-79, 93, 94, 96, 201, 249; imagery and, 68, 119, 223, 229, 250, 251; and relationships,

30, 59, 60, 63-66, 80—83, 89; scenic Zabriskie Point (Antonioni), 113, 158,

background and, 99-100, 102, 108, 159-68, 182, 236, 260; cinematic form 110-12, 113, 126; thematic development in, 193, 201; thematic development in,

through, 61, 62, 85, 118, 233 3, 61, 70, 177, 181, 222, 244

Vittorini, Elio, 253 Zand, Nicole, 256

Voix humaine, La (Cocteau), 202 Zavattini, Cesare, 26, 28, 247

von Stroheim, Erich, 19 Zeller, Corrado. See Corrado Zeller