The Architecture of Vision: Writings and Interviews on Cinema

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The Architecture of Vision: Writings and Interviews on Cinema

Michelangelo Antonioni

Language: English

Pages: 430

ISBN: 0226021149

Format: PDF / Kindle (mobi) / ePub


“A filmmaker is a man like any other; and yet his life is not the same. . . . This is, I think, a special way of being in contact with reality.” Or so says Michelangelo Antonioni, the legendary filmmaker behind the stark landscapes and social alienation of Blow-Up and L’Avventura, who here reveals his idiosyncratic relationship with reality in The Architecture of Vision.

Through autobiographical sketches, theoretical essays, interviews, and conversations with such luminaries as Jean-Luc Godard and Alberto Moravia, this compelling volume explores the director’s unique brand of narrative-defying cinema as well as the motivations and anxieties of the man behind the camera.

“The Architecture of Vision provides a filmmaker’s absorbing reflections and insights on his career. . . . Antonioni’s comments . . . deepen and humanize a sometimes cerebral book.”—Publishers Weekly
 
“[Antonioni’s] erudition is astonishing . . . few of his peers can match his verbal articulateness.”—Film Quarterly
 
“This valuable resource offers entrée to material difficult to gain access to under other circumstances.”—Library Journal

A Question of Belief (Commissario Brunetti, Book 19)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Which I analyzed the condition of spiritual aridity and a certain type of moral coldness in the lives of several individuals belonging to the upper middle class strata of Milanese society. I chose this particular subject because it seemed to me there would be plenty of raw material worth examining in a situation that involved the morally empty existence of certain individuals who were only concerned with themselves, who had no interest whatsoever in anything or anyone outside of themselves, and.

That I haven't come to like it yet, and I'm not sufficiently detached from the film to really judge it. ANTONIONI: FIORAVANTI: In L'avventura, what are the parts that least satisfY you? ANTONIONI: Well, for example, today I would do the entire party scene at the end in a different way. I don't mean it's not good as it is now: I mean I would just do it differently, perhaps worse, but in any case, differently. Then, certain scenes on the islands, for example, certain things with the father,.

Recommence from zero to experiment with new ways of representation. It is a process already underway. Saying this, one realizes that the tasks of the spectator also are modi­ tled. It cannot go on, as it has till now, that the image enters through the eye to reach the brain, the spectator must operate on his own, almost cre­ atively. One says seeing a tllm, reading a tllm. These words now are no longer suited. Today, it is the rapport between image and image which counts. So it is more right to.

And it's an enormous quanti­ ty of stuff-mostly from watching and observing. The way I relax, what I like doing most, is watching. That's why I like traveling, to have new things before my eyes-even a new face. I enjoy myself like that and can stay for hours, looking at things, people, scenery. Do you know, when I was a boy, I always had bumps on my head from running into mailboxes because I was always turning around to stare at people. I also used to climb onto window sills to look into.

But I've always refused, in order to do what I felt like doing. Have you ever been tempted? Yes, often. Asfar as wealth goes, didn't the success o/Blow-Up make you rich? I'm not rich and maybe I'll never be rich. Money is useful-yes-but I don't worship it. Whats your nextfilm? Do you intend to continue working outside Italy? C&ite frankly, I'd like to but don't know ifI'll have the strenght. It isn't easy to understand the lives of people different from your own. I'm think­ ing about doing a film.

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