Thesis--University of Michigan, 1977. / Facsimile reproduction by microfilm-xerography.

Thesis--University of Michigan, 1977. / Facsimile reproduction by microfilm-xerography.

A análise procura entender a inversão que Antonioni realiza na relação entre imagem e texto no cinema. A ficção já não é suficiente para fazer uma abordagem efetivamente política do mundo contemporâneo. Apenas a imagem polissêmica é capaz de criar uma espécie de \"dês-enredo\" que, ao não se deixar reduzir a um sentido único, traz a luz outra dimensão da relação entre figura e fundo do quadro cinematográfico. / This study attempts to understand the inversion of what Antonioni makes in the relation between image and text in the cinema. The fiction is no longer enough to approach politically the contemporaneous world. Only the image polissemic is able to create a sort of \"disembroil\" that does not let to reduce to just one sense, and for consequence lightens another dimension of the relations between character and scenery in the cinematographic picture.

Neste estudo propomos uma leitura interdisciplinar, confrontando a trajetória e o encontro de dois olhares, a saber: de um lado, o olhar do escritor belga-argentino Julio Cortázar (1914/1984), e, do outro, o do cineasta italiano Michelangelo Antonioni (1912), e dado às divergências consideráveis que existem entre as duas linguagens, buscaremos encontrar o ponto onde nos parece que acontece o diálogo das poéticas do autor e do diretor. Ao postular a aproximação entre a palavra e a imagem, o olhar é eleito como questão nuclear, transitando ainda pelo erótico e a personagem feminina. / In this study we propose an interdisciplinary interpretation that evaluates the trajectories and convergence of two looks: on the one hand, the view of the Belgian-Argentinean writer Julio Cortazar (1914/1984), and on the other, the view of the Italian film director Michelangelo Antonioni (1912). Given the considerable incongruities between the two languages, we aim to find a poetical meeting point at which the dialogue between the writer and the director can be established. By postulating a convergence between word and image, the gaze is chosen as the core issue, transiting also through the erotic and the feminine character.

Seminario para optar al grado de Licenciado en Comunicación Social

A análise procura entender a inversão que Antonioni realiza na relação entre imagem e texto no cinema. A ficção já não é suficiente para fazer uma abordagem efetivamente política do mundo contemporâneo. Apenas a imagem polissêmica é capaz de criar uma espécie de \"dês-enredo\" que, ao não se deixar reduzir a um sentido único, traz a luz outra dimensão da relação entre figura e fundo do quadro cinematográfico. / This study attempts to understand the inversion of what Antonioni makes in the relation between image and text in the cinema. The fiction is no longer enough to approach politically the contemporaneous world. Only the image polissemic is able to create a sort of \"disembroil\" that does not let to reduce to just one sense, and for consequence lightens another dimension of the relations between character and scenery in the cinematographic picture.

Neste estudo propomos uma leitura interdisciplinar, confrontando a trajetória e o encontro de dois olhares, a saber: de um lado, o olhar do escritor belga-argentino Julio Cortázar (1914/1984), e, do outro, o do cineasta italiano Michelangelo Antonioni (1912), e dado às divergências consideráveis que existem entre as duas linguagens, buscaremos encontrar o ponto onde nos parece que acontece o diálogo das poéticas do autor e do diretor. Ao postular a aproximação entre a palavra e a imagem, o olhar é eleito como questão nuclear, transitando ainda pelo erótico e a personagem feminina. / In this study we propose an interdisciplinary interpretation that evaluates the trajectories and convergence of two looks: on the one hand, the view of the Belgian-Argentinean writer Julio Cortazar (1914/1984), and on the other, the view of the Italian film director Michelangelo Antonioni (1912). Given the considerable incongruities between the two languages, we aim to find a poetical meeting point at which the dialogue between the writer and the director can be established. By postulating a convergence between word and image, the gaze is chosen as the core issue, transiting also through the erotic and the feminine character.

Au-delà de l'importance de l'espace dans l’œuvre de Michelangelo Antonioni, considérer le mur permet de mettre en évidence le rapport entre le corps sensible des personnages et leur environnement à partir de cet élément à échelle humaine et de découvrir que le mur apparaît également dans des configurations qui ne font plus appel à la notion de volume, mais à celle, métacinématographique, d'écran. En examinant les différents aspects que le terme « mur » recouvre dans l’œuvre, mon propos s'attache à démontrer que si le mur devient catégorie esthétique c'est par son omniprésence à l'écran mais aussi par sa capacité à s'étendre à toutes les dimensions de la fable. La thèse s'organise selon deux idées-cinéma : le mur-objet – qui considère le mur selon son acception la plus concrète – et le mur-écran – pour souligner la proximité du mur, devenu surface, avec l'écran cinématographique. À chaque étape, des lignes transversales sont tendues vers d'autres œuvres et d'autres arts. À partir du mur, élément en apparence stable et immuable, se dévoile un mouvement de libération inhérent à l’œuvre. Les murs sont surfaces de déplacements, formes en mouvement qui entraînent les personnages le long des lignes de déterritorialisation qu'ils proposent. Comme dans sa réalité concrète entre deux espaces, le mur se situe toujours à une limite. Penser le mur, c'est se confronter à cette limite, lieu de basculement, lieu d'instabilité. / Beyond the importance of spaces in Michelangelo Antonioni's work, considering the wall allows to highlight the relationships between the characters' sensitive bodies and their environment from this human scale element and to discover that the wall also appears in configurations which do not depend on the notion of volume but on the metacinematographic notion of screen. By studying the various aspects the term "wall" recovers, I attempt to demonstrate that the wall becomes esthetic category by its omnipresence but also by its capacity to extend in all the dimensions of the fable. The thesis is organized according to two ideas-cinemas: the wall-object - which considers the wall according to its most concrete meaning - and the wall-screen - to underline the closeness of the wall, as a surface, with the film screen. In every stage, transverse lines are tightened towards other works and other arts. From this seemingly stable and unchanging element unfold a movement of liberation inherent to the work. Walls are surfaces of movements, forms in movement which lead the characters along the lines of deterritorialisation they propose. As in its concrete reality between two spaces, the wall is always on a limit. Considering the wall is confronting with this limit, this place of shift and instability.

Universiẗat, Magisterarb. u.d.T.: Kaiser, Tina Hedwig: Filmbilder des Stadtraums und Stadtgangs--Lüneburg, 2001.

L’œuvre d’Antonioni constitue un champ privilégié pour initier une étude du paysage dans l’art cinématographique. Notre étude se focalise sur le dépaysement cinématographique d’Antonioni, de Blow up (1966) à son retour en Italie avec Identification d’une femme (1982). Notre étude vise à marquer l’importance d’une conception mouvante et cinéplastique du paysage, intégrant la question du montage, du mouvement (de l’image et dans l’image), pour dégager les forces rythmiques, métamorphiques et plastiques de l’image-paysage au cinéma. A partir de ces forces, nous souhaitons ouvrir la question du paysage à l’aune de la notion de dépaysement. Le dépaysement constitue un matériau opérant pour penser l’image cinématographique, sa déterritorialisation, son mouvement. Dépayser le paysage entraîne chez Antonioni un dialogue avec l’Histoire de l’art qui implique de repenser les questions esthétiques majeures du XXème siècle (de l’abstraction à l’art informel, en passant par le Land Art et la performance) dans le champ d’une étude cinématographique. La question du dépaysement nécessite de proposer de nouveaux outils pour penser le paysage au cinéma. Nous proposons de nommer « entre-paysage » la constitution d’un paysage qui intègre les processus propres à l’image cinématographique dans sa plastique, en nous appuyant sur les notions d’intervalle et d’entre-image. Un « entre-paysage » cinématographique, tel qu’il est possible de le définir dans l’œuvre d’Antonioni, ouvre une mobilisation plastique de l’image-paysage qui nous permet d’interroger en retour la pratique artistique contemporaine. / The work of Antonioni is a fertile field to study landscape in cinematographic art. This study focuses on Antonioni's cinematographic disorientation, from Blow up (1966) to its come-back in Italy with Identification of a woman (1982). My work aims at showing the importance of a changing and cineplastic vision of landscape which integrates the question of editing, motion (of image and inside the image itself), in order to highlight the rhythmic, metamorphic and plastic strenghts of the image-landscape in the cinema. Having shown these strenghts, I intend to interrogate the question of landscape from the notion of disorientation. Disorientation represents an operating materiel to think the cinematographic image, its deterritorialisation, its motion. Disorientating landscape in Antonioni's work leads to a dialogue with art history, which implies to rethink the major aesthethic questions of the 20th century (from abstraction to informal art, by Land-Art and performance) in the context of a cinematographic study. The question of disorientation requires new tools to rethink landscape in the cinema. I suggest to name « inter-landscape » the constitution of a landscape which integrates peculiar to image in its plastic processes relying on notions suchs as interval and inter-images. A cinematographic « inter-landscape », as can be define from the work of Antonioni, offers a plastic mobilisation of the image-landscape which allows to interrogate, in turn, contemporary artistic practice.