The Architecture of Vision: Writings and Interviews on by Michelangelo Antonioni

By Michelangelo Antonioni

“A filmmaker is a guy like every different; and but his lifestyles isn't the related. . . . this can be, i feel, a different manner of being in touch with reality.” Or so says Michelangelo Antonioni, the mythical filmmaker in the back of the stark landscapes and social alienation of Blow-Up and L’Avventura, who right here unearths his idiosyncratic courting with fact in The structure of Vision.

Through autobiographical sketches, theoretical essays, interviews, and conversations with such luminaries as Jean-Luc Godard and Alberto Moravia, this compelling quantity explores the director’s certain model of narrative-defying cinema in addition to the motivations and anxieties of the fellow in the back of the digicam.

The structure of Vision offers a filmmaker’s soaking up reflections and insights on his occupation. . . . Antonioni’s reviews . . . deepen and humanize a occasionally cerebral book.”—Publishers Weekly
 
“[Antonioni’s] erudition is miraculous . . . few of his friends can fit his verbal articulateness.”—Film Quarterly
 
“This useful source bargains entrée to fabric tough to achieve entry to below different circumstances.”—Library Journal

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Extra resources for The Architecture of Vision: Writings and Interviews on Cinema

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But then, slowly, his feelings grow weaker, because they have no strength. And he doesn't want to look for her; by then he isn't worried about it. He is attracted by other feelings, by other "adventures," by other experiences just as unsteady and unstable. Is it the observation of a moral situation, without judgment? It's obvious that I, personally, am a man who has his own ideas about the world. If somebody finds that the film has another meaning, more explicit, beside this, it means that things have gone in that direction.

For she realizes that she too, in a certain sense, is somewhat like him. Because-if for no other reason-from the MY CINEMA / 35 moment she suspects Anna may have returned, she becomes so appreĀ­ hensive, so afraid she may be back and still alive, that she begins to lose the feeling of friendship that she once had for Anna, just as he had lost his affection for Anna and perhaps is also beginning to lose it for her. But what else can she do but stay with him? As I was saying before, what would be left if there weren't this mutual sense of pity, which is also a source of strength.

However, I do feel that the standard of the real, which is the basis of Italian neorealism, must now be met in a wider and deeper sense. In today's return to normal conditions (for better or worse), the relationship between an individual and his environment is less important than the individual himself in his complex and disquieting reality and in his equally complex relations with others. What is it that torments and motivates modern man? Of all that has happened and is now happening in the world, what are the repercussions inside a man, what are the consequences in his most intimate relationĀ­ ships and dealings with others?

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