The Colors and the Spinozist Bodies of Michelangelo Antonioni’s L’avventura
In this paper I shall profile some of the major contours of the philosophically and cinematically revolutionary qualities of one of Michelangelo Antonioni’s (1912-present) finest films, L’avventura (The Adventure or The Fling 1959), particularly in regard to the colors of the negative, which is to...
Shranjeno v:
| izdano v: | URI:https://journals.openedition.org/erea, |
|---|---|
| Glavni avtor: | |
| Format: | Article ou chapitre numérique |
| Jezik: | Anglais |
| Izdano: |
E-rea
2012
|
| Online dostop: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Izvleček: | In this paper I shall profile some of the major contours of the philosophically and cinematically revolutionary qualities of one of Michelangelo Antonioni’s (1912-present) finest films, L’avventura (The Adventure or The Fling 1959), particularly in regard to the colors of the negative, which is to say the unthought, and in the Spinozist nature of the movie’s critique of the post-modern body and of gender. Antonioni has described the making of L’avventura as his most intense cinematic encount... |
|---|