The Architecture of Vision: Writings and Interviews on Cinema

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

Italian Hours

The Architecture of Modern Italy, Volume 2

Flying Creatures of Fra Angelico

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

abnormal; reality was a burn­ ing issue. The events and situations of the day were extraordinarily unusual, and perhaps the most interesting thing to examine at that time was the relationship between the individual and his environment, between the individual and society. Therefore, a film such as Tht' Bicyclt' Thiif for example, where the main character was a laborer who lost his job because someone had stolen his bicycle, and whose every motivation stemmed from that specific fact, and that fact

absolutely free, as free as those ofliterature, as free as those of painting which has reached abstraction. Perhaps one day cinema will also achieve the heights of abstraction; perhaps cinema will even construct poetry, a cinematic poem in rhyme. Today this may seem absolutely unthinkable, and yet little by little, perhaps even the public will come to accept this kind of cinema. I say this because something of the sort is already taking shape, something which even the public is MY CINEMA / 27

sympathetic or antagonistic; and certainly there will be even more possibilities in the future. In time, this sort of machine will replace the reporters and columnists of daily newspapers. It may even drive cars. But we will always have to give it the address to which we want it to go. In short it must have a reservoir of ideas and commands. Nothing is changed when directors of cinema verite, their cameras tucked under their arms, mingle with the crowds as they film their inves­ tigations. They

Einaudi, that I would do my best not to betray the spirit of the story.6 Apparently it was not a question of doing one's best. This was not the problem. When you detach a story from the words that express it, that make it a story artistically complete in itself, what is left? You have some­ thing equivalent to a newspaper story related by a friend, an event that we have had the chance to attend, a product of our imagination. This is the new point of departure. Then it is a question of developing,

this mystery nor calmly to accept the adult vision of reality which seems to have produced monstrous results. These are the experiences and impressions which have caused some personal symbols to emerge in my films. But after each new film, I'm always asked what the symbol means, rather than how it was shaped and inspired. My films are always works of research. I do not consider myself a direc­ tor who has already mastered his profession, but one who is continuing his search and studying his

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