Michelangelo Antonioni

Also found in: Dictionary, Wikipedia.
Michelangelo Antonioni
BirthplaceFerrara, Italy
Film director, screenwriter, editor and short story writer

Antonioni, Michelangelo

(mëkālän`jālō äntōnyô`nē), 1912–2007, Italian film director and scriptwriter, b. Ferrara, Italy. In the 1940s he made documentaries that contributed to the development of Italian neorealism. His later feature films, which turned away from neorealism to more personal statements, proved to be controversial among audiences and extremely influential with younger filmmakers. These slow-moving and often enigmatic works deal with the alienation, malaise, and loveless eroticism of modern life, with plot and dialogue often subordinate to visual and aural images. His works include Le Amiche (1955); a trilogy consisting of L'Avventura (1960), La Notte (1961), and L'Eclisse (1962); The Red Desert (1964), his first color film; Blow-Up (1966), his best-known film; Zabriskie Point (1970), his first American film and a commercial flop; The Passenger (1975); Identification of a Woman (1982); and Beyond the Clouds (1995), based on a book of his short stories.


See C. di Carlo and G. Tinazzi, The Architecture of Vision: Writings and Interviews on Cinema/Michelangelo Antonioni (tr. 1996, repr. 2007); studies by I. Cameron and R. Wood (rev. ed. 1971), S. Chatman (1985), S. Rohdie (1990), W. Arrowsmith, ed. (1995), and P. Brunette (1998); T. Perry, Michelangelo Antonioni, A Guide for Reference and Resources (1986); E. Antonioni's Making a Film for Me Is Living (film, 1995).

Antonioni, Michelangelo


Born Sept. 29, 1912, in Ferrara. Italian director. He has been a film critic, a scriptwriter, and a producer of documentary films.

In 1950, Antonioni made his first feature film, Story of a Love Affair. The common theme which runs through his works is the isolation of man in contemporary bourgeois society. He has made the films Le Amiche (1955), The Cry (1957, in Soviet release Despair), L’Avventura (1959), La Notte (1960), Eclipse (1962), Red Desert (1964), Blow-Up (1967), and Zabriskie Point (1972). Not accepting the contemporary bourgeois reality, Antonioni, with the skill of a researcher and astute psychologist, shows the destruction of man’s internal ties with the surrounding world. The tragic lack of mutual understanding between people, the aimlessness of existence, the spiritual impoverishment of his heroes, who find it impossible to overcome their isolation, are depicted as the sole and inevitable form of life for all mankind. Antonioni’s films are pessimistic; they are strongly marked by irrational motifs. The pictures bear the mark of his great skill as a director—his subtle choice of means of expression and the subordination of all the components of the film (music, camera work, and actors’ performances) to the director’s scheme.


Turovskaia, M. M. “Antonioni . . .” Iskusstvo kino, 1962, no. 6.
Karaganov, A. “Vstrechi v Italii.” Iskusstvo kino, 1965, no. 3.
Capri, F. Michelangelo Antonioni. Parma, 1958.
Leprohon, P. Michelangelo Antonioni. [Paris, 1961.]
Mentioned in ?
References in periodicals archive ?
The film, shot entirely on location outside of Joshua Tree, California, also is an ode to famous director, Michelangelo Antonioni, with its remote scenery of the desert wilderness reflecting Snake Oil Sam's inner struggles.
From his first feature to his last, Michelangelo Antonioni has made it a routine process and a continual aspect of his work to have characters interact with, or in accordance to, their surroundings.
Looking forward, on the other hand, an illuminating catalogue essay by Francesco Galluzzi traces Morandi's work as a reference in Italian cinema, for instance in works by Michelangelo Antonioni, Federico Fellini, Vittorio De Sica, and Carmelo Bene, as well as Pier Paolo Pasolini (a former student of Morandi's great friend and advocate Roberto Longhi), who cites him obliquely in Accattone (1961).
by Michelangelo Antonioni - 7:45 PM & 11:30 PM) - A burned-out journalist assumes the identity of a dead man and embarks on a dangerous charade, including meetings with gun runners and an affair with a mysterious young woman.
The festival has a line-up of 80 contemporary films from more than 50 countries, which will be screened including feature films by renowned Italian director Michelangelo Antonioni, French director Claude Chabrol as well as films of Indian actor Smita Patil.
David Hemmings claimed in his autobiography that Richard Harris was kicked off the film after he punched director Michelangelo Antonioni and that scenes still to be completed were done with another actor who was photographed from behind.
Guerra is better known as one of Italy's greatest scriptwriters having collaborated with some of Italy's greatest filmmakers such as Frederico Fellini in "Amarcord" and Michelangelo Antonioni in "L'avventura," "La note" and "Blowup.
In a short article he wrote for Corriere della Sera entitled "Le avventure dell' Avventura," Michelangelo Antonioni directly addressed what was to become possibly the most dominant point of contention and discussion concerning his film for both critics and audiences.
Our tablemats, depicting legendary filmmaker Michelangelo Antonioni (Blowup), complemented the sense of being in an arthouse environment.
He assisted Michelangelo Antonioni in shooting short films when he was a student.
of New South Wales, Australia) has edited this book about post-war developments in film theory using observations from some of the most notable directors of the time, including Alfred Hitchcock, Michelangelo Antonioni, Robert Altman, Rainer Werner Fassbinder and others.
Typical Brian De Palma weirdness, based on the Michelangelo Antonioni film Blow-Up.

Full browser ?