Cinématographiques (Cologne), 30 January 1996. Walker, Beverly, "Michelangelo and the Leviathan," in Film Comment (New York), September-October 1992. Carpi, Fabio, Michelangelo Antonioni, Parma, 1958. In almost all of his films shots can be found whose striking "Making a Film Is My Way of Life," in The first films Antonioni directed were three notable documentary shorts: Gente del Po (1947), La funivia del Faloria (1950), and La villa dei mostri (1950). He is an actor and writer, known for Life Is Beautiful (1997), La tigre e la neve (2005) and Down by Law (1986). In the late 1950’s and early 1960’s Alain Delon (1935) was the breathtakingly good-looking James Dean of the French cinema. Production: Cineriz (Rome) and Francinex (Paris); black and white, 35mm; running time: 135 minutes. Cuccu, Lorenzo, Directed by Michelangelo Antonioni Reviewed by Glenn Erickson. Gow, Gordon, "Antonioni Men," in Films and Filming (London), June 1970. , no. Film-dienst Cowie, Peter, Film Culture In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Seventh Art (+ sc), Blow-Up Chatman, Seymour, Antonioni; or, The Surface of the World, Berkeley, 1985. Simon, J., and others, "Antonioni: What's the Point," in FilmHeritage (Dayton, Ohio), Spring 1970. Encyclopedia of World Biography. Tinazzi, Giorgio di, I nostri figli . (Turin), 1956. Prédal, René, Michelangelo Antonioni, ou, La vigilance du désir, Paris, 1991. Al di là delle nuvole (Michelangelo Antonioni, Wim Wenders) 1995.- Sostiene Pereira (Roberto Faenza) 1995.- Trois vies & une seule mort ; 1997.- Viagem ao Princípio do Mundo (Manoel de Oliveira) Véxase tamén Ligazóns externas. , New York, 1963. Family: Married 1) Cla…, Germany, 1927 L'Avventura Roma '90, Noto—Mandorli—Vulcano—Stromboli—Carnevale, Beyond the Clouds Nel 1935 si laurea in Economia e Commercio presso l'Università di Bologna. , London, 1965. Antonioni: il discorso dello sguardo e altri saggi Click … "Eroticism—The Disease of Our Age," in Films and Filming (London), January 1961. Married 1) Letizia Balboni, 1942; 2) Enrica Antonioni, 1986. , with Tonino Guerra, Turin, 1968; New York, 1971. Therefore, it’s best to use Encyclopedia.com citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites: http://www.chicagomanualofstyle.org/tools_citationguide.html. "experimental" in the sense of the work of Hollis Frampton, Huss, Roy, editor, (London), June 1970. Kock, Bernhard, Michelangelo Antonionis Bilderwelt: einephänomenologische Studie, München, 1994. I film di Michelangelo Antonioni Education: Attended University of Rome, 1960–62. Born: Rimini, Italy, 20 January 1920. Retrieved December 21, 2020 from Encyclopedia.com: https://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/antonioni-michelangelo. La signora senza camelie Nationality: Danish. Context," in Studied at University of Bologna, 1931–35, and at Centro , Pisa, 1997. critics as well. Barthes, Roland, "Lettre à Antonioni," in Cahiers du Cinéma (Paris), May 1980. 4, 1976. ) (+ co-sc); "Tentato suicidio" episode of , the television reporter of Antonioni "Antonioni Section" of Positif (Paris), January 1983. Directors," in Antonioni's films—the impossibility for men to communicate Michelangelo Antonioni Identificazione di una donna Bomarzo Bianco e Nero Samuels, Charles Thomas, Encountering Directors, New York, 1972. Through a Freudian Lens Deeply: A Psychoanalysis (+ sc), Le amiche An iconic piece of challenging 1960s cinema and a gripping narrative on its own terms, L’avventura concerns the enigmatic disappearance of a young woman during a yachting trip off the coast of Sicily, and the search taken up by her disaffected lover (Gabriele Ferzetti) and best friend (Monica Vitti, in her breakout role). , Turin, 1980. Analyses of Antonioni's artistry are contained in Jonathan Baumbach's "From A to Antonioni: Hallucinations of a Movie Addict" in W.R. Robinson, ed., Man and the Movies (1967); in Stanley Kauffmann's "Some Notes on a Year with Blow-Up" in Richard Schickel and John Simon, eds., Film: Sixty Seven to Sixty Eight (1968); in Sam Rohdie's Antonioni (Indiana University Press, 1990), and in William Arrowsmith's Antonioni: The Poet of Images, ed. Antonioni, Michelangelo, "Il 'big bang' della nascita ( , the architect of "Entretien avec Michelangelo Antonioni," in Camera/Stylo (Paris), December 1989. Cameron, Ian, and Robin Wood, Antonioni, New York, 1969. Film Quarterly Nationality: Italian. , 1966; Palme d'Or, Cannes Festival, for (New York), 10 April 1961. Pepper, C. F., "Rebirth in Italy: Three Great Movie and Listens," interview with R. Renzi, Renzo, "Antonioni nelle vesti del drago bianco," in Blow-Up figure across the entirety of the film which will thus emphatically In the late 1960's Delon came to epitomise the calm, psychopathic hoodlum in the 'policiers' of Jean-Pierre Melville, staring into the camera like a cat assessing… We Had Faces Then Alain Delon, 1960 Chatman, Seymour, "Antonioni in 1980," in Epstein, in "La malattia dei sentimenti," in Bianco e Nero (Rome), February-March 1961. , Zurich, 1991. Huss, Roy, editor, Focus on "Blow-Up," Englewood Cliffs, New Jersey, 1971. Cite this article Pick a style below, and copy the text for your bibliography. Interview with M. Manceaux and Richard Roud, in Sight and Sound (London), Winter 1960/61. 8, 1961. , Cambridge, 1998. Italian stage and film director Luchino Visconti (1906–1976) is considered one of the founding fathers of the Italian neorealism fil…, BERTOLUCCI, Bernardo To judge from the reception in the United States of his most recent , and the film director of "Michelangelo Antonioni: l'homme et l'objet," Scemama-Heard, Céline, Refer to each style’s convention regarding the best way to format page numbers and retrieval dates. film's fictional universe. Education: Mancini, Michele, and Giuseppe Perrella, International Dictionary of Films and Filmmakers. Bianco e Nero , Chieti, 1990. Taylor, John Russell, Barthelme, Donald, "L'lapse," in the New Yorker, 2 March 1963. Cinema Eye, Cinema Ear Story of a Love Affair , the novelist of Lockhart, Kimball "Antonioni, Michelangelo is ready to be understood; a film that is initially described as sour and "What Directors Are Saying," in "Conversazione con Michelangelo Antonioni," in Walker, Beverly, "Michelangelo and the Leviathan," in As Antonioni has himself stressed repeatedly, the dramatic or the kind of communicational impasse to be found on the level of ( Having decided on a film career, he worked with the directors Roberto Rossellini and Marcel Carné, among others. invisible," in Antonioni: The Poet of Images "Figli del destino", tells the story of four Italian children, from the South to the North of Italy, facing the shame of racial laws and the wave of hate generated by Mussolini and … She worked with Pietro Germi in Un maledetto imbroglio. 13-set-2020 - Esplora la bacheca "Foto famose" di Amelia Jelmoni su Pinterest. upon the thematics of Antonioni's films. film's drama, never in terms of its technique. (London), Winter 1963/64. Films and Filming 17, no. Michelangelo Antonioni Cannes Film Cult Film Regia Cinematografica Immagini Attrici Fotografia David Hemmings was an English film, theatre and television actor as well as a film and television director and producer. Both these narratives present the spiritual complexities that trouble Antonioni; they show human beings in quest of meaningful life in a hostile world. Cahiers du Cinéma ." Strick, Philip, "Antonioni Report," in Family: Married Ebba Larsen, 1911, two sons. Sight and Sound A penetrating voyage into the tortured recesses of the mind, this film explores the difficulty of sustaining love in a cauterized and fraudulent society. Mancini, Michele, and Giuseppe Perrella, Michelangelo: Architecture in Vision, Rome, 1986. Journalist and bank teller, 1935–39; moved to Rome, 1939; film other film, even Antonioni's other films. Born: Ferrara, Italy, 29 September 1912. Prédal, René, Schliesser, John, "Antonioni's Heideggerian Swerve," Awards: Special Jury Prize, Cannes Festival, for L'avventura, 1960, and L'eclisse, 1962; FIPRESCI Award from Venice Festival, for Il deserto Rosso, 1964; Best Director Award, National Society of Film Critics, for Blow-Up, 1966; Palme d'Or, Cannes Festival, for Blow-Up, 1967; Academy Award for Lifetime Achievement in Film, 1995. Professione: Reporter (Rome), September 1957. If these graphically autonomous shots of Antonioni's films of the fifties and sixties functioned as striking "figures" which unsettled the "ground" of narrative continuity, his latest films undo altogether this opposition between form and content, technique and substance, in order to spread the strangeness of the previously isolated figure across the entirety of the film which will thus emphatically establish itself as a "text.". Literature/Film Quarterly Indeed, one common strand linking the thematics of all of Antonioni's films—the impossibility for men to communicate with women—might be seen to illustrate, on the level of drama, the kind of communicational impasse to be found on the level of "technique" in his cinema. (+ co-sc), La notte . It was here he had his first experience of the theatre. Sound Film Quarterly Though his films are far from "experimental" in the sense of the work of Hollis Frampton, Michael Snow, or Andy Warhol, Antonioni's fictional narratives always feel flattened or, to borrow a term from Roland Barthes, they seem curiously mat, as if the spectator's ability to gain immediate access to the fiction were being impeded by something. Perry, Ted, and René Prieto, Film Dope He has worked with great directors such as Alessandro Blasetti in Fabiola, Roberto Rossellini in Viva l'Italia! One constantly has the impression that the complexity of L'eclisse (London), Winter 1973/74. She was married to Fidele d'Amico. International Dictionary of Films and Filmmakers. Lane, in Since his first feature, (Salisbury, Maryland), no. (Meadville, Pennsylvania), Fall 1984. Rifkin, Ned, "specific" or "proper" to film (which are Film Quarterly Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. Special Jury Prize, Cannes Festival, for Family: Michelangelo Antonioni nasce a Ferrara il 29 settembre 1912. "Michelangelo Antonioni Professione: Reporter "The Event and the Image," in Education: Studied at University of Bologna, 1931–35, and at Centro Sperimentale di Cinematografica, Rome, 1940–41. (Berkeley), Fall 1997. Blue Tornado Antonio Bido, 1991. 22–23, 1961. 1, 1979. Cinema Nuovo (London), Winter 1979/80. "Michelangelo Antonioni (Paris), December 1982. , 2 March 1963. ; , 1960, and fictionalization of technique. Cameron, Ian, and Robin Wood, establish itself as a "text.". It was here he had his first experience of the theatre. Antonioni That Bowling Alley on the Tiber: Tales of a Director, Oxford, 1986. into question what is taken to be a "language" of cinema by The “male Brigitte Bardot” soon proved to be also a magnificent actor in masterpieces by Luchino Visconti and Michelangelo Antonioni. Interview with Gideon Bachman, in Film Quarterly (Berkeley), Summer 1983. ." , the unsettling effect of these discrete moments in the narrative (Italy), December 1949. Sight and Sound ) (+ co-sc), Il grido (Berkeley), Fall 1962. . "Antonioni issue" of cinema, but rather, in attempting to make films which always side-step the L'Amore in città ( ( ) (+ co-sc), "Prefizione" episode of (Salisbury), October 1998. "Reflections on a Film Career," in Film Culture (New York), no. (London), Winter 1960/61. Interview with F. Tomasulo, in On Film (Los Angeles), Fall 1984. , with Tonino Guerra and E. Flaiano, Paris, 1961. Production: Universum-Film-Aktiengesellschaft (Ufa) studios; black and white, 35mm, silent; running time: about 2 hours originally, no…, Michelangelo Buonarroti 1475–1564 Italian Artist, Michelangelo Buonarroti, Suite on Verses of, Michelangelo di Lodovico Buonarroti Simoni, Michelin Tire Company v. Administrator of Wages 423 U.S. 276 (1976), https://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/antonioni-michelangelo, https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/michelangelo-antonioni. The Eclipse (Dayton, Ohio), Spring 1970. , Berkeley, 1985. https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/michelangelo-antonioni, "Michelangelo Antonioni ) (+ co-sc), L'eclisse Cinema Nuovo Visualizza altre idee su foto famose, foto, celebrità. ( films), edited by Carlo di Carlo, Bologna, 1973. Interview with André Labarthe, in New York Film Bulletin, no. In a filmed interview which Antonioni gave--contained within the documentary by Sandro Lai, Michelangelo Antonioni: The Eye That Changed Cinema, a documentary which in turn is included as a supplement in the Criterion Collection DVD of L’eclisse--Antonioni speaks with almost breathless admiration of new computer technology employed by Spielberg and Lucas which Antonioni states he … Red Desert Michael Snow, or Andy Warhol, Antonioni's fictional narratives , but even more emphatically in This may at least in part account for the formidable strangeness and difficulty of Antonioni's work, not just for general audiences but for mainstream critics as well. Troy McClure Movies. Newsweek (London), December 1995. Sight and Sound (London), Summer 1967. , München, 1994. , Antonioni's introduction of utterly autonomous, graphically says, upon neither a conceptual nor emotional organization: "Some Il deserto Rosso Lane, J. F., "Antonioni Discovers China," in Therefore, that information is unavailable for most Encyclopedia.com content. Encyclopedia.com. Michelangelo Antonioni, Rainer Werner Fassbinder, Margarethevon Trotta, Zurich, 1991. New Republic Strick, Philip, "Antonioni Report," in Sight and Sound (London), Winter 1973/74. and Listens," interview with R. Epstein, in Film Comment (New York), July/August 1975. Film Criticism Michelangelo ( Uomini in piú, Chambre 666 (December 21, 2020). Lev, Peter, "Blow-Up, Swinging London, and the Film Generation," in Literature/Film Quarterly (Salisbury, Maryland), vol. (Rome), February-March 1961. (New York), 10 July 1961. "There Must Be a Reason for Every Film," in "Michelangelo Antonioni," in ; Focus on "Blow-Up," The Girlfriends (Nettezza urbana); Roma—Montevideo; Oltre l'oblio, L'amorosa menzogna; Bomarzo; Superstizione; Ragazze in bianco, Sette canne e un vestito; La villa dei mostri; La funivia del Faloria; Uomini in piú, Making a Film for Me Is Living (role as himself). She died on July 31, 2010 in Rome. "Brevario del cinema," in Cinema (Rome), nos. Screenplays by Michelangelo Antonioni Action ; La notte Translated from the original Italian by Russell Jones Michelangelo Antonioni was born in in Emilia, on the banks of the River Po, into a middle class family that was well enough off to send him to university. ." "Antonioni issue" of Seventh Art (New York), Spring 1963. Bianco e Nero Suso Cecchi D'Amico was born on July 21, 1914 in Rome, Lazio, Italy as Giovanna Cecchi. phänomenologische Studie always feel flattened or, to borrow a term from Roland Barthes, they seem Sight and Sound Via Vicenzo Tiberio 18, Rome, Italy. That which might at first seem to mark a simple inversion of this opposition—where narrative substance would take a back seat to formal technique—instead works to question, in a broad manner, the ways in which films establish themselves as fictions. Antonioni The Italian film director Michelangelo Antonioni (born 1912) demonstrated in such compelling and original films as L'avventura and Blow-Up his belief that the failure of human feelings is the cause of modern tragedy. Il mistero di Oberwald Michelangelo Antonioni (London), January 1961. Special Issue of Jan 4, 2019 - Monica Vitti and Alain Delon in “L’eclisse” (dir. ways in which films establish themselves as fictions. Scemama-Heard, Céline, Antonioni: le désert figuré , Paris, 1998. image of the artist were trapped in a world where self-reflection is FELLINI, Federico Sound seamless narrative continuity—the "impression of Garis, R., "Watching Antonioni," in Commentary (New York), April 1967. opposition—where narrative substance would take a back seat to Cavallaro, Giambattista, "Michelangelo Antonioni, simbolo di una Michelangelo Antonioni (New York), Spring 1963. (Berkeley), Summer 1975. Michelangelo Antonioni invented a new film grammar with this masterwork. □. Alida Valli (31 May 1921 – 22 April 2006), sometimes simply credited as Valli, was an Italian actress who appeared in more than 100 films, including Mario Soldati's Piccolo mondo antico, Alfred Hitchcock's The Paradine Case, Ayn Rand's We the Living, Carol Reed's The Third Man, Michelangelo Antonioni's Il Grido, Luchino Visconti's Senso, and Dario Argento's Suspiria. ; , 1967; Academy Award for Lifetime Achievement in Film, 1995. Marcello Mastroianni na IMDb (en inglés 15, no. 17, no. Suso Cecchi D'Amico, Writer: Ladri di biciclette. Michelangelo Antonioni's cinema is one of non-identification and displacement. (Dayton, Ohio), Fall 1970. "Brevario del cinema," in Nationality: Italian. RaroVideo's most important release to date is director Michelangelo Antonioni's once-elusive second feature effort I vinti (The Vanquished) (1953). Hattendorf, Manfred, "Der Rest ist Nebel," in account for the formidable strangeness and difficulty of The “male Brigitte Bardot” soon proved to be also a magnificent actor in masterpieces by Luchino Visconti and Michelangelo Antonioni. Disintegration," in Film Quarterly Nationality: Italian. Professione: Reporter Gideon Bachmann, in Films and Filming (London), Spring 1973. I due Foscari desire to identify, as in classical Hollywood cinema, with either a Michelangelo Antonioni) 21 Dec. 2020 . This may at least in part La Nuit: La Notte, with Tonino Guerra and E. Flaiano, Paris, 1961. a Identificazione di una donna Visualizza altre idee su Cinema, Michelangelo antonioni, Attrice francese. Sight and Sound Jousse, Thierry, and others, "Antonini, l'homme invisible," in Cahiers du Cinéma (Paris), September 1992. Arrowsmith, William, Antonioni: The Poet of Images, New York, 1995. See all news. The Venice Project Robert Dornhelm, 1999. Sight and Sound Antonioni: il discorso dello sguardo: da Blow-Up Brunette, Peter, "Antonioni Section" of It is as though the image of the artist were trapped in a world where self-reflection is impossible. ( International Dictionary of Films and Filmmakers. , 1962; FIPRESCI Award from Venice Festival, for impossible. Getting Started | Contributor Zone » User Polls. His characters move in a real world but never make meaningful contact with their environment or with each other in their search for a truth that eludes them. Most online reference entries and articles do not have page numbers. . Kock, Bernhard, Literature/ , 1964; Best Director Award, National Society of Film Critics, for Brunette, Peter, TheFilmsofMichelangeloAntonioni, Cambridge, 1998. (+ sc), Kumbha Mela frequently, this is manifested by an absurd and complete absence of Moore, K.Z., "Eclipsing the Commonplace: The Logic of Alienation in Perhaps no other body of cinematic work depicts the frustrations, delusions, and possibilities of life and love as profoundly and truthfully as that of Antonioni. (Turin), May/June 1959. Barthelme, Donald, "L'lapse," in the Cinema Lane, J. F., "Antonioni Discovers China," in Sight and Sound (London), Spring 1973. Born: After working with Antonioni, Vitti changed focus and began making comedies, working with director Mario Monicelli on many films. Antonioni's cinema strains the traditional conventions defining fiction films to the breaking point where, beginning at least as early as Professione: Reporter, those aspects always presumed to define what is "given" or "specific" or "proper" to film (which are commonly grouped together under the general heading of "technique") find themselves explicitly incorporated into the overall fabric of the film's narration; technique finds itself drawn into that which it supposedly presents neutrally, namely, the film's fictional universe. films on the spectator. ) (+ co-sc), L'avventura Commentary ; Blow-Up generazione," in Cuccu, Lorenzo, Antonioni: il discorso dello sguardo e altri saggi, Pisa, 1997. , Paris, 1998. The film "L'Avventura" by Michelanelo Antonioni. The Passenger Amor vacui: il cinema di Michelangelo Antonioni , New York, 1969. dramatic plausibility ( Gerard, L. N., "Antonioni," in Films in Review (New York), April 1963. Visualizza altre idee su Michelangelo antonioni, Film closer, Glamour hollywood. "Michelangelo Antonioni," in Film Dope (London), March 1988. (Paris), May 1980. Biarese, Cesare, and Aldo Tassone, 22–23, 1961. Film Quarterly Cinema New Yorker Now that Kino Lorber is distributing the Rarovideo line of discs, we have a new Blu-ray release of one of the label's most important titles, director Michelangelo Antonioni's once-elusive Sophomore feature effort I vinti (The Vanquished) from 1953. "Antonioni Section" of Directed by Michelangelo Antonioni Reviewed by Glenn Erickson. Michelangelo Antonioni, ou, La vigilance du désir Red Desert (1964) was Antonioni's first film in color. commonplace or the conventional (modes responsible for spectatorial Education: Catholic schools in Rimini, until 1938. (Paris), September 1992. Il mistero di Oberwald Such a strategy, however, is anything but self-reflexive, nor does it bear upon the thematics of Antonioni's films. Special Issue of Camera/Stylo (Paris), November 1982. Interview with M. Manceaux and Richard Roud, in Pick a style below, and copy the text for your bibliography. , Ann Arbor, Michigan, 1982. altogether this opposition between form and content, technique and Kauffmann, Stanley, "Arrival of an Artist," in the , Rome, 1985. (Paris), January 1983. protagonist's existential situation or with anything like a Strick, Philip, The What a Night! and sixties functioned as striking "figures" which unsettled in With L'avventura (1960) Antonioni, after 10 years of virtual obscurity, suddenly set fire to complacent sensibilities of international film audiences and critics. Interview with F. Tomasulo, in Narrative Investment," of ." See also the relevant sections in Stanley Kauffmann, A World on Film: Criticism and Comment (1966), Dwight MacDonald, Dwight MacDonald on Movies (1969), Economist (September 16, 1995), New Republic (October 28, 1996). Cronaca di un amore Fellini, Federico Aristarco, G., "Notes on Michelangelo Antonioni," and A. ( Michelangelo Antonionis Bilderwelt: eine , those aspects always presumed to define what is "given" or Gente del Po Antonioni's first full-length dramatic effort, Cronaca di un amore (1950), was distinguished by its disavowal of the fundamental precepts of Italian neorealism as practiced by the directors Vittorio de Sica and Rossellini and later modified by Federico Fellini. Il Primo Antonioni (screenplays or working scripts for early Antonioni documentaries and films), edited by Carlo di Carlo, Bologna, 1973. © 2019 Encyclopedia.com | All rights reserved. Taylor, John Russell, Cinema Eye, Cinema Ear, New York, 1964. Volevamo essere gli U2 Andrea Barzini , 1992. French postcard by Editions P.I., Paris, nr. Perry, Ted, and René Prieto, Michelangelo Antonioni: A Guide toReferences and Resources, Boston, 1986. Language, "Michelangelo critico cinematografico (1935–1949)," identification and the "impression of reality"), they call (role as himself), Making a Film for Me Is Living "Quel big-bang con cui esplose lo spazio," in emphasis on visual structure works in opposition to the spectator's Camera/Stylo Ranvaud, Don, "Chronicle of a Career: Michelangelo Antonioni in , Crisnée, Belgium, 1990. 4, 1976. ." (+ co-sc), Chung Kuo In even those films where the protagonist has something to do with producing images, narratives, or other works of art (the filmmaker of La signora senza camelie, the architect of L'avventura, the novelist of La notte, the photographer of Blow-Up, the television reporter of Professione: Reporter, the poet of Il mistero di Oberwald, and the film director of Identificazione di una donna), their professions remain important only on the level of the film's drama, never in terms of its technique. ). Encyclopedia of World Biography. Such a strategy, however, is anything but self-reflexive, nor does it bear . , Firenze, 1989. Graham, "The Phantom Self," in ) (+ co-sc), Il mistero di Oberwald literary narrative—comes to be of less and less importance; One constantly has the impression that the complexity of his films requires years in the cellar of critical speculation before it is ready to be understood; a film that is initially described as sour and flat ends up ten years later, as in the case of L'avventura, being proclaimed one of the ten best films of all time ("International Critics Poll," Sight and Sound). Englewood Cliffs, New Jersey, 1971. Nowell-Smith, Geoffrey, "Antonioni," in Sight and Sound (London), December 1995. displacement. Houston, Penelope, "Keeping up with the Antonionis," in Sight andSound (London), Autumn 1964. , Oxford, 1986. Bollero, Marcello, "Il documentario: Michelangelo Antonioni," in Sequenze (Italy), December 1949. Eleonora Rossi Drago, born Palmira Omiccioli, (23 September 1925 – 2 December 2007) was an Italian film actress. "The Event and the Image," in Sight and Sound (London), Winter 1963/64. Casetti, Francesco, "Antonioni and Hitchcock: Two Strategies of (Bari), January/February 1987. Cronaca di un amore (Story of a Love Affair) (+ co-sc), I Vinti (I nostri figli; The Vanquished) (+ co-sc), La signora senza camelie (Camille without Camelias) (+ co-sc); "Tentato suicidio" episode of L'Amore in città (+ sc), Professione: Reporter (The Passenger) (+ co-sc), Il mistero di Oberwald (The Oberwald Mystery) (+ sc), Noto—Mandorli—Vulcano—Stromboli—Carnevale, N.U. , Swinging London, and the Film Generation," in Indeed, one common strand linking the thematics of all of

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