Transcendental Phenomenology and Antonioni’s Red Desert.
Transcendental Phenomenology and Antonioni’s Red Desert This essay applies the ideas associated with transcendental phenomenology to the Michelangelo Antonioni’s 1964 film Il deserto rosso, known in English as Red Desert. Aspects of western philosophy can provide a viewer with a greater appreciation of the film and its meanings.
Plus: a Booklet featuring an essay by Film Writer Mark Le Fanu, a reprinted interview with Antonioni Conducted by Jean-Luc Godard, and Writings by Antonioni on Gente del Po and N.U. Red Desert (Criterion Collection) (Blu-ray).
Landscapes of deliquescence in Michelangelo Antonioni's Red Desert Abstract The cinematic landscape provides a rich opportunity to explore cultural representations of place, space and nature. This essay focuses on the depiction of landscape in Michelangelo Antonioni's Red Desert (1964).
This article discusses Michelangelo Antonioni’s use of music in his 1964 film Red Desert (Il deserto rosso). Before Red Desert, Antonioni had avoided the Hollywood convention of the near.
Apart from a few throwbacks to treatments of Eros as illness—most notably in Red Desert (1964), his next feature, where Vitti plays the most neurotic of all his characters—the celebration of eroticism has continued all the way up to Antonioni’s episode in 2004’s Eros, while his view of business, in spite of remaining critical.
Michelangelo Antonioni 1913- Italian film director, screenwriter, short story writer, and painter.. Antonioni was born in Ferrara, Italy, the son of a landowner.. Red Desert depicts the.
Overall, Red Desert is a simple, yet overwhelming visual poem, cruel and bleak, but with breathtaking moments. I saw this masterpiece on the new Criterion Blu-Ray, which also comes with a scholarly commentary track, interviews, two short documentaries by Antonioni, dailies, and a trailer.
The essay concludes by locating Red Desert at a unique juncture in the development of modernist conceptions of nature and landscape. The cinematic landscape provides a rich opportunity to explore cultural representations of place, space and nature. This essay focuses on the depiction of landscape in Michelangelo Antonioni's Red Desert (1964.
In Red Desert (1964), Antonioni strays from his fixation on relationships to make an atmospheric, environmentalist film. Giuliana, the wife an ardent industrialist, faces a crisis of meaning as she spends her days inhabiting an industrial wasteland, a dystopia of factories and smokestacks.
Michelangelo Antonioni’s Il deserto rosso (Red Desert) is usually seen as the conclusion to his masterful tetralogy that includes L’avventura, La notte, and L’eclisse, although some argue that it is the beginning of the color experiments that would be followed by Blow-Up and Zabriskie Point. This minor debate seems pointless, since.
Apart from a few throwbacks to treatments of Eros as illness — most notably in Red Desert, his next feature, where Vitti plays the most neurotic of all his characters — the celebration of eroticism has continued all the way up to Antonioni’s episode in the recent Eros, while his view of business, in spite of remaining critical (especially.
This essay was commissioned in fall 2018 for an exhibition devoted to Michelangelo Antonioni in Tehran curated by Sami Astan. — J.R. (Antonioni’s) trilogy was concerned with differing aspects of love as the medium of hope in our world. This film (Red Desert) is stripped to naked essence — hope or nonhope unadorned: the prospect of human life in the midst of whirling changes.
James Reviews Michelangelo Antonioni’s Red Desert (Blu-Ray Review). the film’s trailer and a booklet featuring an essay by film writer Mark Le Fanu, Antonioni writings on Gente del Po and N.U. and a fitting reprinting of an interview of Antonioni by Jean-Luc Godard himself.. Red Desert is one of many films that if it wasn’t for the.
