Showing posts with label michelangelo antonioni. Show all posts
Showing posts with label michelangelo antonioni. Show all posts
nothingness
untitled (plum and dark brown) - 1964your paintings are like my films. they are about nothing... with precisionmichelangelo antonioni to mark rothko, during a visit to rothko's studio in 1962, according to motherwell and peter selzsee temps mort: rothko and antonioni by jeffrey weissfound in mark rothko published by skira - 2008for the complete story
(i can feel the sea falling over my head)
a study of the sea, on the one year anniversary of young gossamer and arthur de eriomém's encounter with the sea, nearly being taken by her, yet spared with the promise to pursue her beauty.- pt anderson - there will be blood - 2007there will be blood - 2007- michelangelo antonioni - l'avventura - 1960l'avventura - 1960- the work of anna atkinsbangia fusco-purpurea - 1843-53polysiphonia violacea.
robert bresson, andrei tarkovsky, very few means of expression
while doing roublev i forced myself to be very hard and very dry, tending towards a sort of olympic calm that, for me, is the major quality of the art of directing a film. so i might as well as tell you that i'm very fond of bresson. page 30in paris, i have asked to meet bresson. we have nothing in common, but he's one of the best directors i know. i want to see him, to see his face, to see how
antonioni's l'eclisse & architettura e fascismo
michelangelo antonioni's film l'eclisse, 1962 and italian fascist architecture.l'eclisse was antonioni's last film from the trilogy on modern malaise (or the 3rd part of a tetralogy that includes the red desert, 1964), and stars alain delon and monica vitti.this post looks at how antonioni photographed rome so beautifully in l'eclisse (and also the fascist town in l'avventura) and its relation to
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