L'Eclisse perhaps focusses on alienation more than the previous two films in this trilogy. It lacks the transparent plotting of the former but is also less minimalistic and non-linear than the latter. Rather than alienation, though, one might find the common theme to be a pessimistic meditation on the possibility of romantic love in our modern civilization. In that sense, these abstractions fit in the construction of an atmosphere that is in a way inexplicable: shapeless, wordless. Antonioni's classic, a tale of lonely, estranged characters on a journey through the mysterious landscapes of identity, shimmers with beauty and uncertainty. L'Eclisse (Eclipse) made in 1963 is the third film in Michelangelo Antonioni’s decadence trilogy. Spoiler warning This feature gives away the ending of the film; If it’s true that we take a particular interest in the culture of the era just before we were born then my enthusiasm for L’eclisse may be pre-determined. An exploration of alienation and ennui, Michelangelo Antonioni’s La Notte depicts the rapid deterioration of an already listless marriage over the course of a day, catalyzed by the mirrored decline in health and imminent death of the couple’s close friend. Like many other films from director Michelangelo Antonioni, particularly those of his early trilogy looking superficially at the ideas of emptiness, alienation and personal disconnection, La Notte (1961) is less about traditional narrative storytelling and more about the rigid examination of a single theme and moment, stretched out beyond the infinite. The Mystery of Oberwald (1980) Architecture in Antonioni’s Alienation Trilogy: A Special Three-Night Film Series at Preservation Foundation in Palm Beach The Roman stock exchange becomes a specific site of alienation, a scene of hysterical routine taken for granted by an affectless humanity, as traders scream their buy/sell orders in moments rendered as bizarre, showing, in Antonioni’s inimitable style, how the quotidian elements of … The conclusion of Michelangelo Antonioni's informal trilogy on modern malaise, L'ECLISSE (The Eclipse) tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) only to … F or all the discussion over the decades of Michelangelo Antonioni’s high-minded, abstractionist tendencies, he is, in many of the same ways, one of the most literal of filmmakers. Learn vocabulary, terms, and more with flashcards, games, and other study tools. At the land antonioni G character, framing reflects teams of loneliness detachments and emotional sickness. Start studying Test 2 Italian Cinema (50's and 60's). In fact, this trilogy of upper-class ennui could definitely be considered anti-plot in the first place. I've covered both L’Avventura and La Notte in other blog posts. "Serinini İtalyan yönetmeni Michelangelo Antonioni 1912 yılında İtalya'nın kuzey doğusundaki Ferrara'da doğan ve Bologna Üniversitesinde ekonomi eğitimi gören Michelangelo Antonioni, 1930'ların İtalyan komedilerini çok sert dille eleştiren yazılarıyla dikkat çekti." Michelangelo Antonioni followed up his internationally-acclaimed L’Avventura (1960) with La Notte (1961), which further cemented his reputation as a n auteur devoted to a philosophical examination of human existence. Dec 3, 2015 - With L’Eclisse, Michelangelo Antonioni brought his trilogy on the theme of alienation to a close. The temptation would be to plunge straight into the famous ‘alienation’ tetralogy, or the English-language features Blowup, Zabriskie Point (1970) and The Passenger (1975). Antonioni is known for his capacity to express alienation visually. The concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise (following L’avventura and La notte), L’eclisse tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) and drifts into a relationship with another (Alain Delon). La notte (Italy, 1961), the second film in Michelangelo Antonioni’s “trilogy of alienation” (it’s bracketed by L’avventura, 1961, and L’eclisse, 1962), stars Marcello Mastroianni as a celebrated novelist in Milan who has nothing left to say and Jeanne Moreau as his quietly unsettled wife who can’t seem to express all the disappointment building up behind her unfazed expression. of Antonioni s Trilogy Frank P.Tomasulo and Jason Grant McKahan Abstract: Although the extant scholarly literature on the cinema of the late Michelangelo Antonioni has often valorized his use of images and mise-en-scène to explore themes and reflections on humanism and alienation, few 16. David Thomson mourns a master. From a vacuous Italy to swinging London, Antonioni's studies of modern alienation gave cinema some of its greatest moments. L’avventura is the film that gave Antonioni a name. I would say that this trilogy is very much made of all that is not there. Michelangelo Antonioni’s 1960s panoramas of contemporary alienation were decade-defining artistic events, and Red Desert, his first color film, is perhaps his most epochal. L’eclisse was also the climax of a loose trilogy about Eros, art, business, and emotional alienation in the contemporary world that consolidated Antonioni’s international reputation, preceded by L’avventura (1960) and La notte (1961). The middle section of Antonioni's trilogy on bourgeois alienation, La Notte covers twenty-four hours in the breakdown of a 'typical' middle class marriage. Bergman said Antonioni did two things - La Notte and Blow-Up. L’Eclisse (Eclipse, 1962) was Michelangelo Antonioni’s final installment of what is sometimes said to be his trilogy of alienation, which included L’ Avventura (The Adventure, 1960) and La Notte (The Night, 1961). The middle section of Antonioni's trilogy on bourgeois alienation, La Notte covers twenty-four hours in the breakdown of a 'typical' middle class marriage. Indeed La Notte was considered to be part of Antonioni’s “trilogy of alienation”, which included L’Avventura and L’Eclisse (1962). Absence, vacuity, silence, all that to compose the so called “alienation”. Antonioni doesn’t concern himself with presenting the same characters in these films, however, so there’s nothing really to be lost from a plot standpoint. Michelangelo Antonioni - Trilogy and Epilogue, focusing on L'Avventura (1960), La Notte (1961), L'Eclisse (1962), and Deserto Rosso (1963). The second piece of Antonioni's alienation trilogy, La Notte acts as a middleground between the existential mystery story presented in L'Avventura and the more overtly experimental L'Eclisse. (he didn't like Vitti) Even if the fashions of that moment seem so dated, I think Blow-Up is the best. But to get an idea of how Antonioni’s style began to take shape, I’d suggest starting at the beginning with his debut Story of a Love Affair (1950). Director: Michelangelo Antonioni Cinematographer: Gianni Di Venanzo By the time of the final entry of Michelangelo Antonioni’s loose trilogy on post-war malaise and alienation, the initially derided first film L’Avventura (the second being La Notte) had been reevaluated to the extent that L’Eclisse had become the most eagerly awaited film at the Cannes Film Festival. I was born in the mid-1960s, only a couple of months after Michelangelo Antonioni had completed a cycle of four films which made waves in the international film scene. It's an endless film, as in it keeps mutating into something else, like 2001. ... "Alienation Trilogy" t tmdb12279362. “La Notte oder: Antonionis Night of the Living Dead.” The film discusses similar themes of: alienation, love and tragedy to the trilogy's earlier films: L'Avventura and La Notte. Atmosphere antonioni trilogy of alienation is in a way inexplicable: shapeless, wordless trilogy of upper-class ennui could be... 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