Results 1 to 10 of about 13,583 (175)
Ampliando Entre Blow Up de Antonioni y el Cementerio de las Cenizas del Pensamiento de John Hejduk
[i2]: Investigación e Innovación en Arquitectura y Territorio, 2020 Artículo de opinión sobre la película Blow Up de Michelangelo Antonioni a través de unas reflexiones de John Hejduk y su proyecto titulado el Cementerio de las Cenizas del Pensamiento.
Carlos Barberá Pastor
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Signs of Innovation in European Cinema. Electronic Music in Antonioni and Tarkovsky
Cinéma & CieIn the process of the emancipation of film music that took place in the first decades after World War II, the filmography of Michelangelo Antonioni and Andrei Tarkovsky offers multiple points of interest.
Gabriele
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The Nearly Forgotten Futures of Acid Communism: Foucault and Antonioni at Zabriskie Point
KrisisWith a focus on the 1970s—in particular, narratives recounting Michel Foucault’s 1975 LSD experience at Zabriskie Point in Death Valley, as well as Michelangelo Antonioni’s 1970 film Zabriskie Point—this article seeks to recover any politically or ...
Todd Landon Barnes
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All’origine della sceneggiatura. Verso una critica genetica del film L’eclisse (1962)
Acta Universitatis Lodziensis. Folia Litteraria Polonica, 2022 La presente proposta – inserita nel quadro della ricerca di dottorato intitolata Tonino Guerra sceneggiatore tra anni Cinquanta e Sessanta. Il lavoro con Antonioni e Rosi tra storia e inchiesta – si propone di illustrare la ricognizione archivistica ...
Giuseppe Mattia
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Antonioni e il colore (1940/1947)
Materiali di estetica. Terza serie, 2023 Michelangelo Antonioni worked as a film critic between the 1930s and 1940s. It is a path that denotes the formation of a taste but also attention to certain formal elements of movies, such as the use of colour.
Giorgio Tinazzi
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Where Everything Seems to Begin: Antonioni and Branca in the United States circa 1968
The Italianist, 2023 This paper focuses on two films made by Italian directors in the United States at the end of the 1960s, Seize the Time by Antonello Branca (1970) and Zabriskie Point by Michelangelo Antonioni (1970).
Luca Peretti
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Literatura e Autoritarismo, 2022 O propósito do trabalho é realizar uma análise do papel da fotografia no conto Las babas del diablo, de Julio Cortázar e da obra fílmica Blow-Up, de Michelangelo Antonioni, com base nos pressupostos de Roland Barthes sobre o processo fotográfico.
A. Benatti, Rute da Silva
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Images Re-Vues, 2022 In his film The Passenger, which recounts the quest for an impossible freedom, Antonioni multiplies the frames within the frame, up to a famous shot that has become legendary, which underlines and erases the power of the frames.
Vincent Amiel
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NUOBODULYS IR PRIEVARTA: ANTONIONI „FOTOPADIDINIMO“ ATVEJIS
Problemos, 2017 Tęsiant kinematografinės prievartos tyrinėjimus, straipsnyje nagrinėjamas vienas ryškiausių kino istorijoje metakino pavyzdžių – Michelangelo Antonioni „Fotopadidinimas“ („Blow up“).
Nerijus Milerius
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Who is the director of this movie? Automatic style recognition based on shot features [PDF]
, 2018 We show how low-level formal features, such as shot duration, meant as length of camera takes, and shot scale, i.e. the distance between the camera and the subject, are distinctive of a director's style in art movies. So far such features were thought of
Benini, Sergio +4 more
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