Michelangelo Antonioni:
A Bibliography of Materials in the UC Berkeley Library












Books
Journal Articles
Articles and Books on Individual films
Antonioni films in MRC

Books

Antonioni, Michelangelo.
Antonioni, le montagne incantate. Milano: Electa, c1983.
UCB MainTR647.A57 1983 NRLF #: D 2 540 927

Antonioni, Michelangelo
Ecrits : fare un film `e per me vivere Paris : Editions Images Modernes, 2003.
MAIN: PN1998.3.A58.A514 2003;

Antonioni, Michelangelo.
The architecture of vision: writings and interviews on cinema / Michelangelo Antonioni; edited by Carlo di Carlo and Giorgio Tinazzi; American edition by Marga Cottino-Jones. New York: Marsilio Publishers; St. Paul, MN: Distributed in the U.S. by Consortium Book Sales and Distribution, c1996.
UCB Main PN1998.3.A58 A5 1996

Antonioni, Michelangelo.
Michelangelo Antonioni: an introduction. Translated by Scott Sullivan. New York, Simon and Schuster, 1963. Series title: The World of film.
UCB Main PN1998.A3 A55 L4 *c2 copies
UCB Moffitt PN1998.A3 .A623

Antonioni, Michelangelo.
Il silenzio a colori : di Michelangelo Antonioni = Silence in color : by Michelangelo Antonioni Roma : Campisano, c2006.
MAIN: ND623.A53957 A4 2006

Arrowsmith, William
Antonioni: the poet of images / William Arrowsmith; edited with an introduction and notes by Ted Perry. New York: Oxford University Press, 1995.
UCB Main PN1998.3.A58 A77 1995
UCB Moffitt PN1998.3.A58 A77 1995

Bernardi, Sandro.
Antonioni, personnage paysage Saint-Denis : Presses universitaires de Vincennes, 2006.
PFA : PN1998.3.A64 B46 2006; OS

Biarese, Cesare.
I film di Michelangelo Antonioni / Cesare Biarese, Aldo Tassone. Roma : Gremese, c1985. Series title: Effetto cinema ; 9.
UCB Main PN1998.A3 A631 1985

Bonfand, Alain.
Le cinema de Michelangelo Antonioni Published: Paris : Images modernes, c2003.
MAIN: PN1998.3.A64 B66 2003;

Brunette, Peter.
The films of Michelangelo Antonioni / Peter Brunette. Cambridge; New York: Cambridge University Press, 1998. Series title: Cambridge film classics.
UCB Main PN1998.3.A58 B78 1998

Cameron, Ian.
Michelangelo Antonioni : a study / by Ian Cameron. London : Movie Magazine, 1963.
NRLF B 2 809 558

Cameron, Ian Alexander
Antonioni [by] Ian Cameron & Robin Wood. London, Studio Vista, 1968. Series title: Movie paperbacks.
UCB Main PN1998.A3 A55 C3

Cameron, Ian Alexander
Antonioni [by] Ian Cameron & Robin Wood. [New York] Praeger [1969, c1968].
UCB Moffitt PN1998.A3 A64 1969

Cameron, Ian Alexander
Antonioni [by] Ian Cameron & Robin Wood. Rev. ed. [New York] Praeger [1971]. Series title: Praeger film library.
UCB Main PN1998.A3 A55 C3, 1971

Chatman, Seymour Benjamin
Antonioni, or, The Surface of the world / Seymour Chatman. Berkeley : University of California Press, c1985.
UCB Grad Svcs Ordered for Grad Svcs
UCB Main PN1998.A3 A6541 1985
UCB Moffitt PN1998.A3 A6541 1985

Chatman, Seymour
Michelangelo Antonioni: the complete films Koln ; London : Taschen, 2004.
GRDS: PN1998.3.A64 C42 2004
PFA : PN1998.3.A64 C42 2004

Chatman, Seymour Benjamin
Michelangelo Antonioni: the investigation Koln ; London : Taschen, c2004.
MAIN: PN1998.3.A58 C42 2004

Il Cinema di Michelangelo Antonioni
a cura di Carlo Di Carlo. [Milano] : Il castoro ; [Venezia] : La Biennale di Venezia, c2002. Description 117 p. : ill. ; 24 cm. Series Mostra internazionale d'arte cinematografica (59th : 2002 : Venice, Italy)
Published on the occasion of the 59th Mostra internazionale d'arte cinematografica di Venezia which was held Aug. 29-Sept. 9, 2002.
Main Stack PN1998.3.A58.C56 2002

Cowie, Peter.
Antonioni, Bergman, Resnais; [three monographs]. London, Tantivy Press; New York, Barnes [1963].
UCB Main PN1998.A2 C66

Eco, Umberto
"De interpretatione." In: Travels in hyper reality : essays / Umberto Eco ; translated from the Italian by William Weaver. p. 281-8. 1st ed. San Diego : Harcourt Brace Jovanovich, c1986.
Anthropology PQ4865.C6.T71 1986
Main Stack PQ4865.C6.T71 1986
Grad Svcs PQ4865.C6.T7 1986

Forgacs, David
"Antonioni : space, place, sexuality." In: Spaces in European cinema / edited by Myrto Konstantarakos. Exeter, England ; Portland, OR : Intellect, 2000
Main Stack PN1993.5.E8.S69 2000

Gianetti, David.
Invito al cinema di Michelangelo Antonioni Milano : Mursia, c1999.
MAIN: PN1998.3.A58 G53 1999

Jacobowitz, Florence; Lippe, Richard.
"Michelangelo Antonioni: The Late Years." Cineaction, 1997, Issue 42, p70-72, 3p
UC users only

Kovács, András Bálint.
"Analytical Minimalism: The Antonioni Style." In: Screening modernism : European art cinema, 1950-1980 / András Bálint Kovács. Chicago : University of Chicago Press, c2007.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1993.5.E8 K68 2007

Lopate, Phillip
"Antonioni's Cronaca." In: SO: In: Totally, tenderly, tragically : essays and criticism from a lifelong love affair with the movies /... p. 64-72 1st Anchor Books ed. New York: Anchor Books/Doubleday, 1998.
Main Stack PN1995.L627 1998

Lyons, Robert Joseph.
Michelangelo Antonioni's neo-realism : a world view / Robert Joseph Lyons. New York : Arno Press, 1976, c1973. Series title: Dissertations on film. Series title: The Arno Press cinema program.
UCB Main PN1998.A3A55 .L9 1976

Makhmalbaf, Samira
"Michelangelo Antonioni." Memoire de cinephiles = Film lovers memorie / preface de Gilles Jacob. [Versailles] : Fiches du cinema, [2004]
PFA PN1995.M456 2004

Marcus, Millicent Joy
Antonioni's Red desert: abstraction as the guiding idea. In: Marcus, Millicent Joy. Italian film in the light of neorealism / Millicent Marcus.p. 188-207 Princeton, N.J. : Princeton University Press, 1986.
Main Stack PN1993.5.I88.M281 1986

Mayet Giaume, Joelle
Michelangelo Antonioni: le fil interieur / Joelle Mayet Giaume. Crisnee, Belgique: Yellow Now, c1990.
UCB Main PN1998.3.A58 M3 1990

Michelangelo Antonioni
Alessandria : Falsopiano ; Bologna : Regione Emilia-Romagna, [2007?]
Main Stack PN1998.3.A58.M54 2007

Michelangelo Antonioni
Mit Beitragen von Roland Barthes ... [et al.]. Munchen: C. Hanser, c1984. Series title: Reihe Film 31.
UCB Main PN1998.A3 A68551 1984

Michelangelo Antonioni: i film e la critica : 1943-1995, un'antologia
a cura di Maria Orsini ; con un saggio di Lino Miccich`e. Roma : Bulzoni, c2002.
Main Stack PN1998.3.A58.M55 2002

Michelangelo Antonioni: identificazione di un autore / a cura del Comune di Ferrara, Ufficio cinema. Parma : Pratiche, c1983-c1985. Series title: Sedicesimo ; 3, 6.
UCB Main PN1998.A3 A686 1983 v.[1]-2 (c1983-c1985)

Michelangelo Antonioni : interviews
Edited by Bert Cardullo. Jackson : University Press of Mississippi, 2008.
Moffitt PN1998.3.A64.A3 2008
PFA PN1998.3.A64.A3 2008

Moure, Jose.
Michelangelo Antonioni, cineaste de l'evidement / Jose Moure. Paris, France : l'Harmattan, 2001. Paris, France : l'Harmattan, 2001.
Main Stack PN1998.3.A58; M68 2001

VIDEORECORDING
Neorealismo fino al 1954 = Neorealism until 1954 / une produzione Istituto Luce S.p.A. ; a cura di Carlo Lizzani ; regia di Piero Tartagni. West Long Branch, NJ : Kultur ; Museum of Modern Art, [1998?]. Series title: Collectors series (Museum of Modern Art)
UCB Media Ctr VIDEO/C 5880

Perry, Ted
Michelangelo Antonioni, a guide to reference and resources / Ted Perry and Rene Prieto. Boston, Mass.: G.K. Hall, c1986. Series title: A Reference publication in film.
UCB Main PN1998.A3 A6871 1986
UCB Moffitt PN1998.A3 A687 1986

Rainer Werner Fassbinder, Margarethe von Trotta, Michelangelo Antonioni. Zurich: Filmstellen VSETH/VSU, 1991. Series title: Dokumentation / Filmstellen VSETH/VSU ; 1991/92.
UCB Main PN1998.3.F37 R353 1991

Restivo, Angelo
The cinema of economic miracles : visuality and modernization in the Italian art film / Angelo Restivo. Durham, NC : Duke University Press, 2002.
Main Stack PN1998.3.P367; R47 2002

Rifkin, Ned.
Antonioni's visual language / by Ned Rifkin. Ann Arbor, Mich.: UMI Research Press, c1982. Series title: Studies in cinema ; no. 19.
UCB Main PN1998.A3 .A689 1982
UCB Moffitt PN1998.A3 .A689 1982

Rohdie, Sam
Antonioni / Sam Rohdie. London: BFI Pub., 1990.
UCB Main PN1998.A3 A6892 1990 *2 copies
UCB Moffitt PN1998.A3 A6892 1990

Rosenbaum, Jonathan
"A Cinema of Uncertainty: Films by Michelangelo Antonioni." In: Placing Movies / Jonathan Rosenbaum. pp: 307-14. Berkeley: University of California Press, c1995.
Main Stack PN1995.R65 1995

Scemama-Heard, Celine.
Antonioni : le desert figure Paris : Harmattan, c1998.
MAIN: PN1998.3.A58 S29 1998

Le sonorit`a del visibile : immagini, suoni e musica nel cinema di Michelangelo Antonioni : [atti del Convegno tenutosi a Ravenna 21 e 22 maggio 1999] / a cura di Alberto Achilli, Alberto Boschi, Gianfranco Casadio. Ravenna : Longo, 1999.
Main Stack PN1998.3.A58.S66 1999

Tailleur, Roger.
Antonioni / Roger Tailleur et Paul-Louis Thirard. Paris: Editions universitaires, c1963. Series title: Classiques du cinema ; 12.
UCB Main PN1993 .C5 v.12

Tinazzi, Giorgio.
Antonioni. Michelangelo Antonioni di Giorgio Tinazzi. Firenze, La nuova Italia, 1974. Series title: Il Castoro cinema, 1.
NRLF $B 504 028

Vanoye, Francis.
Profession, reporter : Michelangelo Antonioni [Paris] : Nathan, c1993.
MAIN: PN1997.P7763 V36 1993

Vighi, Fabio
"Mimesis and the Un-Reconciled Condition: A Theoretical Approach to Antonioni's Cinema." New Formations: A Journal of Culture/Theory/Politics, vol. 47, pp. 144-54, Summer 2002.

Wenders, Wim.
My time with Antonioni : the diary of an extraordinary experience / Wim Wenders ; translated by Michael Hofmann.<2000>
London : Faber, c2000.
Main Stack PN1998.3.A58; W46 2000

Journal Articles

"Antonioni, Michelangelo."
Current Biography v54, n5 (May, 1993):7 (5 pages).

Antonioni, Michelangelo.
"The Event and the Image." Sight and Sound 33:1 (1963/1964:Winter) p.14
UC users only

Antonioni, Michelangelo.
"One Summer Night." Harper's 263:1578 (1981:Nov.) 75
UC users only

Antonioni, Michelangelo.
"L'École des femmes." Positif; nr.263 (Jan 1983); p.28-29
Reprint of a 1940 article in which A.M. describes the influence of the model of wife and mother proposed by the Hollywood film.

"Aristarco, Guido; Bohne, Luciana"
"Notes on Michelangelo Antonioni Film Criticism, 1984 Fall, 9:1, 4-7
Discusses M.A.'s literary roots and suggests a theoretical framework for his experimental use of electronics in recent films.

Bachmann, Gideon
"Love of today: an interview with Michelangelo Antonioni." Film Quarterly v. 36 no. 4 (Summer 1983) p. 1-4
The director of "Identification of a Woman" talks about suffering, control, and the decline of passion

Bernard, Mary
"Difficulties in Antonioni." Cambridge Review 87 (1965:Oct.-1966:June) 292

Bonsaver, Guido
"Beyond the Classics: Late Antonioni." Sight and Sound, vol. 16, no. 7, pp. 38, Summer 2006

Brown, James
"Michelangelo Antonioni." (profile) Senses of Cinema

Cameron, Ian
"Special Issue: Antonioni." Film Quarterly 16:1 (1962:Fall) 1

Cardullo, Bert.
"More from Less: The Movie Aesthetic of Michelangelo Antonioni." Antigonish Review, Winter2010, Issue 160, p115-128, 14p
UC users only

Casetti, Francesco
"Antonioni and Hitchcock: Two Strategies of Narrative Investment" SubStance: A Review of Theory and Literary Criticism, 1986, 15:3 (51), 69-86.

Casetti, Francesco
"Cinema in the Cinema in Italian Films of the Fifties: Bellissima and La Signora Senza Camelie." Screen XXXIII/4, Winter 92; p.375-393.
Discusses the significance which films made with a film setting can have for the study of society or history. Examines esp. films by Visconti and Antonioni.

Chatman, Seymour.
"Antonioni in 1980: An Interview." Film Quarterly v51, n1 (Fall, 1997):2 (9 pages).
In an interview from 1980, Antonioni discusses his career and future plans. A brief chronology of his activities from 1980-97 follows.
UC users only

Chatman, Seymour.
"What Is Description in the Cinema?" Cinema Journal 23:4 (1984:Summer) 4
This essay investigates the way in which a film can be said to describe rather than simply to show an environment as background to action. The problem arises because film, unlike print, operates in the audience's real time, and hence suggests that "story-time" (the time of the fictional events depicted) is always passing, whereas genuine description in novels evokes the sense of a pause in the story. Examples of description from narrative fiction and film (Antonioni) are given by way of demonstration

"Chronicle of a Career: Michelangelo Antonioni in context." Monthly Film Bulletin 50:588/599 (1983) p.March:61
UC users only

Colombo, Furio
"Visual Structure in a Film by Antonioni." Quarterly Review of Film Studies 2:4 (1977:Nov.) p.426

Degli Esposti, Cristina
"Michelangelo Antonioni's Cronaca di un amore: A Neorealist Film Noir." Cinefocus, 1990 Fall, 1:2, 14-18.

Elson, Brigid
"Crucial Devices: The Role of the Media in Orwell, Waugh, Hitchcock and Antonioni." Antigonish Review, 1995 Summer-Autumn,

Epstein, R.
"Antonioni speaks...and listens." Film Comment Vol.XI nr.4 (July-Aug 1975); p.7-8
R.E. discusses 'Professione: Reporter' with M.A.

"European Directors Issue: Wajda on Wajda, Watkins on Munch, Bergman, Pasolini, Antonioni, Bunuel, Renoir." Literature/Film Quarterly 5:1 (1977:Winter) p.96

Ferrua, P.
"Antonioni's Interpretation of Reality and Literature." Forum italicum 13:1 (1979:Spring) p.82

Garis, Robert
"Watching Antonioni." Commentary 43:4 (1967:Apr.) 86
UC users only

Graham, Alison
"The phantom self." Film Criticism Vol.IX nr.1 (Fall 1984); p.47-62
UC users only
Examines the influence of James M. Cain on the early neorealist films of Visconti and Antonioni.

Hickey, Dave
"Simple hearts: the real Michelangelo." Art Issues (U.S.A.), no. 51, Jan.-Feb. 1998
"Discusses the work of the Italian film-maker Michelangelo Antonioni. The author describes the effect of Antonioni's films on the viewer, noting that this is the effect art should have, examines in detail the structure and significance of the film L'Avventura, and notes the influence on his work of Italian painting. He assesses the director's approach to characterization, comments on his camerawork, and compares his films to works by American directors." [Art Index]

Holland, Norman N.
"Not Having Antonioni." Hudson Review 16:1 (1963:Spring) 89

Houston, Penelope.
"Antonioni." Sight and Sound v59, n4 (Autumn, 1990):248.

"Italian cinema." Film Criticism Vol.IX nr.1 (Fall 1984); p.1-88
On the Italian cinema, concentrating on Antonioni, Visconti and Pasolini.

Johnson, K.
"The point of view of the wandering camera." Cinema Journal Vol.XXXII nr.2 (Winter 1993); p.49-56
Considers the narrative role played by a non-subjective 'wandering' camera, esp. in auteurist cinema as exemplified by Hitchcock, Antonioni, Kubrick and Welles.

Koehler, Robert
"Early Antonioni: the resilience of modernism." Cineaste. 36.4 (Fall 2011) p32.
UC users only

Kovacs, Andras Balint
"Sartre, the Philosophy of Nothingness, and the Modern Melodrama." The Journal of Aesthetics and Art Criticism v. 64 no. 1 (Winter 2006) p. 135-45
"Part of a special issue on philosophy and film. The writer examines Michelangelo Antonioni's classic trilogy of the early 1960s in order to show that they are part of a wider trend in European cinema in which the influence of Sartre's existentialism is evident. He notes Sartre's stature at the time and the impact he had among European intellectuals and artists, and he reminds us that Sartre expressed his philosophical ideas in his novels and plays. On this view, he suggests, Antonioni's films may be best understood as films of ideas designed to express philosophical concepts and elicit our reflection on them. For example, he proposes that Anonioni's L'eclisse (1962) dramatizes the nonthingness that Sartre associated with genuinely free as opposed to habitual or custom-driven behavior." [Art Index]

Krel, Petr
"Traverse du dsert." Positif; nr.263 (Jan 1983); p.30-35
The role of empty space and silence in the films of M.A.

Le Fanu, Mark
"Antonioni: Time in motion." Sight & Sound v. ns17 no. 10 (October 2007) p. 19
"Part of a special section that responds to the recent deaths of film directors Ingmar Bergman and Michelangelo Antonioni. The writer celebrates the life and achievements of Antonioni. He notes that Antonioni is most famed for such films as Blowup (1966), Zabriskie Point (1970), and The Passenger (1974), which capture the zeitgeist with a mysteriously suggestive authority, but he believes that it is Antonioni's lesser known films of the 1950s that most brilliantly display his distinctive genius." [Art Index]

Lemari, Yannick
"Antonioni en mots et en images." Positif: Revue Mensuelle de Cinema, vol. 528, pp. 64-66, February 2005

Manceaux, Michele, et al.
"Michelangelo Antonioni: An Interview." Sight and Sound 30:1 (1960/1961:Winter) p.4
UC users only

Mazzotta, Guiseppe
"The Language of Movies and Antonioni's Double Vision." Diacritics 1985 Summer, 15:2, 2-10.

Mellor, D. A.
"'Fragments of an Unknowable Whole': Michelangelo Antonioni's Incorporation of Contemporary Visualities in London, 1966." Visual Culture in Britain v. 8 no. 2 (2007) p. 45-61
UC users only
"Michelangelo Antonioni's 1966 film Blow-Up was transformed by contact with and incorporation of contemporary British visual culture. What was exceptional during the planning and production of this major commercial film, filmed in London in the spring and summer of 1966, was Antonioni's incorporation of certain practices and sensibilities of particular painters, photographers, and art directors working in the city. One critical area of exploration for English artists at this time was the meanings thrown up by the photographic representation of contingent bodies, and one of the most powerful thematics of Blow-Up is the mutability of evidence, particularly photographs. The writer goes on to examine the pictorial contexts around the film's manufacture as well as some of those present, but effaced, contexts of contemporary British art and some of the deeper structures of British visual culture mobilized by Antonioni when he shot the film." [Art Index]

"Michelangelo Antonioni." Sight & Sound v. 30 no. 1 (Winter 1960-1961) p. 4-13

"Michelangelo Antonioni speaks out."
American Cinematographer Vol.LVII nr.2 (Feb 1976); p.158-159,173
Interview with Italian director M.A. about his films, his directing style, and his thought.

Moore, Kevin Z.
"Eclipsing the Commonplace: The Logic of Alienation in Antonioni's Cinema." Film-Quarterly, 1995 Summer, 48:4, 22-34.
UC users only
Rethinks the traditional definition of alienation from society and ponders this state in connection with characters in the films of Antonioni.

Moses, Gavriel
"Sleepwalking in the Snow: Antonioni and the Voice of the Canon." RLA: Romance Languages Annual 1996, 8, 238-44.

Moses, Gavriel
"As We (They) See (Hear) Them (Us): Cain/Antonioni/Antonioni/Coppola." VIA: Voices in Italian Americana, 1991 Spring, 2:1, 1-8.

Nowell-Smith, Geoffrey.
"Antonioni: Before and After." Sight and Sound v5, n12 (Dec, 1995):16 (5 pages).
UC users only
"A discussion of the work of the director Antonioni. The writer demonstrates that the films made by Antonioni in the early 1960s, L'avventura, La notte, The Eclipse, and The Red Desert, have gone through a cycle of fashionability, neglect, and return to fashion, culminating in the rerelease of L'avventura and the premiere of Beyond the Clouds, Antonioni's first feature for over ten years. He discusses the status of the narrative and the characters in Antonioni's films. He maintains that Antonioni's films have not proved easy to imitate because while they represent an opening up of cinema to the new possibilities of vision, they also involve a closing down, since the vision they embody is so precise and that precision cannot be manneristically reproduced. Antonioni's cinema, he argues, was very much a cinema of its time, marked by the emergence of a public that had begun to grow tired of conventional cinema and expected something different." [Art Index]

Nunez-Fernandez, Lupe
"Antonioni's Gaze." Flash Art (International Edition) v. 40 (October 2007) p. 65, 74
UC users only
"The recent death of Michelangelo Antonioni occurred at a time when the art student's love affair with the Antonioniesque is reaching a peak. Antonioni's work, dealing with modern alienation and the ambiguity of what seems 'real', is characterized by a subversive use of the act of looking. The director's use of the long silent take is a defining feature of his complicated mix of sleek but difficult visuals and veiled radical messages. Practitioners of the post-Antonioni gaze continue to explore his unresolved questions on authority, perspective and ontological weight." [Art Index]

Orban, Clara
"Antonioni's Women, Lost in the City." Modern Language Studies, vol. 31, no. 2, pp. 11-27, Fall 2001

Perez, Gilberto.
"A Man pointing: Antonioni and the Film Image." Yale Review v82, n3 (July, 1994):38 (28 pages).
Michelangelo Antonioni creates stories from images that point toward several possible story lines. In several of his films, Antonioni uses not only the camera but the actors to indicate the direction of a story through literally pointing with a finger or using glances, words, movements and other gestures.

Pursell, Michael
"Remenbering Antonioni." Literature/Film Quarterly 14:3 (1986) 204

Rudman, Mark.
"The Night: on Michelangelo Antonioni." Raritan: A Quarterly Review v14, n2 (Fall, 1994):83 (26 pages).
The reputation of Italian filmmaker Michelangelo Antonioni seems to have waned, although his work has considerable artistic merit. Antonioni's films are investigative in nature, reflecting his early experience as a journalist. Major themes in his work include restlessness, sleeplessness, boredom, class and social problems, time and seeing. Films discussed include 'Blow-Up,' 'The Passenger,' 'L'Eclisse,' 'Identification of a Woman,' 'La Notte,' and 'L'Aventurra.'.

Samuels, Charles Thomas
"Antonioni - Two Decades of Film." Art in America 59:1 (1971:Jan./Feb.) 72

Schliesser, John
"Antonioni's Heideggerian Swerve." Literature/Film Quarterly (26:4) [1998:4], p.278-287.
UC users only

Tassone, Aldo
"Entretien avec Michelangelo Antonioni." Positif; nr.292 (June 1985); p.38-45
M.A. on his painting and writing and the greater possibilities of cinema; his film and tv projects; the crisis in Italian cinema; the principles of shooting and editing, etc.

Tiessen, Paul
"Film Theory and Practice: Kurosawa/Tolstoy, Antonioni/, Clayton/Fitzgerald." Literature/Film Quarterly 3:1 (1975:Winter) p.97

Tomasulo, Frank P.
"The Architectonics of Alienation: Antonioni's Edifice Complex." Wide-Angle 1993 July, 15:3, 3-20.
Explores Antonioni's consistent use of architecture as a metaphor for the human condition

Welsh, J. M.
"Remember Antonioni?" Literature/Film Quarterly 13:4 (1985) 233

Whitebait, William
"Antonioni's Separation." New Statesman n.s.:61 (1961:Jan. 6-1961:June 30) p.228

Williams, James S.
"The Rhythms of Life: An Appreciation of Michelangelo Antonioni, Extreme Aesthete of the Real." Film Quarterly Sep 2008, Vol. 62, No. 1: 46–57.
UC users only

Books and Articles on Individual Films

L'Avventura

Antonioni, Michelangelo.
L'avventura: a film / by Michelangelo Antonioni ; from the filmscript by Michelangelo Antonioni, with Elic Bartolini and Tonino Guerra; consulting editor, George Amberg. [Ann Arbor, Mich.: Reprinted for Grove Press by University Microfilm International, 1979 c1979.
UCB Main PN1997.A953 .A5 1979

Bohne, Luciana.
"The Discourse of Narcissism in L'Avventura." Film Criticism, vol. 9 no. 1. 1984 Fall. pp: 17-24.
UC users only

Cardullo, Bert.
"Expressionism and L'avventura." Lamar Journal of the Humanities, vol. 21 no. 2. 1995 Fall. pp: 35-46.

Currie, Hector
"The "Heights of Abstraction" in Antonioni: L'Avventura." In: Cinema Drama Schema: Eastern Metaphysics in Western Art / Hector Currie. pp: 159-65. New York: Philosophical Library, c1985.
Main Stack PN1892.C8 1985 NRLF #: B 3 909 247
Moffitt PN1892.C8 1985

Darke, Chris
"L'avventura." Sight & Sound v. ns5 (December 1995) p. 54
"Michelangelo Antonioni's L'avventura was a cause celebre whose long-take sequences and evanescent plot scandalized the 1960 Cannes Festival. Antonioni's technique puts equal emphasis on length and depth. This film is the perfect introduction to Antonioni's cinema of absence, a style that has been both unique and influential." [Art Index]

Ford, Hamish.
"Antonioni's L'Avventura and Deleuze's Time-Image." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 28:(no pagination). 2003 Sept-Oct

Holland, Norman N.
"Not Having Antonioni." Hudson Review 16:1 (1963:Spring) p.89
UC users only

Kauffmann, S.
"L'Avventura." In: American movie critics : an anthology from the silents until now / edited by Phillip Lopate. New York : Library of America : Distributed to the trade by Penguin Putnam, c2006.

Main Stack PN1995.A448 2006

Moffitt PN1995.A448 2006

PFA PN1995.A72 2006

LoBrutto, V.
"The body as cinematic landscape: L'Avventura." In: Becoming film literate : the art and craft of motion pictures / Vincent LoBrutto ; foreword by Jan Harlan. Westport, Conn. : Praeger, c2005.
Main Stack PN1994.L595 2005
Moffitt PN1994.L595 2005
PFA PN1994.L595 2005

Manceaux, Michele.
"Michelangelo Antonioni: "L'Avventura" Sight and Sound 30:1 (1960/1961:Winter) p.4
UC users only

Nowell-Smith, Geoffrey.
"Antonioni: Before and After." Sight and Sound v5, n12 (Dec, 1995):16 (5 pages). The main reason for the success of Michelangelo Antonioni's movies, 'L'avventura,' 'The Eclipse' and 'The Desert' is the lifelike portrayal of his characters. Antonioni's movies, released in the 1960s, all have a mystery thereby creating excitement and suspense. Antonioni's characters live in the present, without that much emphasis on their past or future.

Nowell-Smith, Geoffrey.
L'Avventura / Geoffrey Nowell-Smith. London: BFI Pub., 1997. Series title: BFI film classics.
UCB Main PN1997.A953 N69 1997

Orban, Clara.
"Antonioni's Women, Lost in the City." Modern Language Studies. 31(2):11-27. 2001 Fall

Rudman, Mark.
"The Night: On Michelangelo Antonioni." Raritan: A Quarterly Review v14, n2 (Fall, 1994):83 (26 pages). The reputation of Italian filmmaker Michelangelo Antonioni seems to have waned, although his work has considerable artistic merit. Antonioni's films are investigative in nature, reflecting his early experience as a journalist. Major themes in his work include restlessness, sleeplessness, boredom, class and social problems, time and seeing. Films discussed include 'Blow-Up,' 'The Passenger,' 'L'Eclisse,' 'Identification of a Woman,' 'La Notte,' and 'L'Aventurra.'.

Beyond the Clouds

Coe, Jonathan.
"Beyond the Clouds." (movie reviews) New Statesman (1996) v126, n4316 (Jan 10, 1997):40.

Darke, Chris.
"Beyond the Clouds." (movie reviews) Sight and Sound v6, n7 (July, 1996):38 (2 pages).
"Michelangelo Antonioni's Beyond the Clouds comprises four episodes--Chronicle of a Love Affair that Never Existed, Don't Look for Me, This Body of Dirt, and The Girl, the Crime--based on the director's short stories. Without detracting from Antonioni's energy and the great beauty of many of his images, these stories are definitely uneven. The movie is, nonetheless, an elegant resume of a remarkable talent." [Art Index]

Domecq, Jean-Philippe; others
"Michelangelo Antonioni./ Par-delà les nuages." Positif; SO: nr.420 (Feb 1996); p.4-17
Review of "Par-delà les nuages" followed by an interview with its scriptwriter Tonino Guerra who discusses his work with Antonioni for this film and his collaboration with other directors. Plus notes on four publications recording the shooting of the film and about Antonioni.

Guerin, Marie-Anne
"Par-dela des nuages: Antonioni chez les autres." Cahiers du Cinema no. 499 (February 1996) p. 40-1
"An insight into the film director Michelangelo Antonioni through a number of comments and descriptions by his colleagues. Tonino Guerra, who collaborated with Antonioni on the screenplay of Par-dela les nuages, describes the aristocratic distance Antonioni maintains, his propriety, and his precision. Wim Wenders, his friend and cowriter on Par-dela des nuages, comments on Antonioni's techniques and skill. Actors Fanny Ardent, Monica Vitti, and Sophie Marceau comment on their working relationships with Antonioni." [Art Index]

Guerin, Marie-Anne
"Par-dela les nuages." Cahiers du Cinema no. 499 (February 1996) p. 36-9
"A review of Par-dela les nuages, a film directed by Michelangelo Antonioni in collaboration with Wim Wenders and Tonino Guerra. The film is composed of four stories, each focusing on a couple, linked by Wim Wenders's narrative. Although the subject matter of the film is not original, the performances of the women in the film are superb, and the film contains some moments of splendor that only the cinema can create with such clarity and force." [Art Index]

Hogue, Peter.
"Beyond the Clouds." (movie reviews) Film Comment v33, n3 (May-June, 1997):50 (4 pages).
UC users only

Kauffmann, Stanley.
"Beyond the Clouds." (movie reviews) New Republic v215, n18 (Oct 28, 1996):30 (2 pages).
UC users only

Lane, Anthony.
"Beyond the Clouds." (movie reviews) New Yorker v72, n29 (Sept 30, 1996):88 (3 pages).

Pizzichini, Lilian.
"Beyond the Clouds." (movie reviews) TLS. Times Literary Supplement, n4894 (Jan 17, 1997):15.

Rosenbaum, J.
"Beyond the clouds: return to beauty." In: Essential cinema : on the necessity of film canons / Jonathan Rosenbaum. Baltimore : Johns Hopkins University Press, 2004.
Main Stack PN1994.R5684 2004
Moffitt PN1994.R5684 2004
PFA PN1994.R63 2004

Wagstaff, Chris.
"Beyond words." (Beyond the Clouds) (movie reviews) Sight and Sound v6, n7 (July, 1996):12 (5 pages).
": A discussion of the genesis and various "paratexts" of Michelangelo Antonioni's Beyond the Clouds. It was intended that this movie would comprise four episodes directed by Antonioni, based on stories from his collection Quel bowling sul Tevere, and a framework, directed by Wenders, tying the stories together. The film, as it reaches us, however, is chiefly Antonioni's. Released alongside Beyond the Clouds were the 50-minute documentary Per me fare un film e come vivere (For Me Making a Film Is Like Living), directed by Antonioni's wife Enrica Fico, and Gianni Massironi's Caro Antonioni, a two-hour documentary on Antonioni's career as a filmmaker. Wenders's diary of the making of the movie provides a further paratext. The writer analyzes in detail the second episode, which is entitled The Girl, the Crime." [Art Index]

Blow-up

Bittini, Patrizia.
"Film Is Stranger than Fiction: From Cortázar's 'Las babas del diablo' to Antonioni's Blow-Up." RLA: Romance Languages Annual, vol. 7. 1995. pp: 199-203.

Carbajal, Brent J.
"Illusive Reality in Cortázar's 'Las babas del diablo' and Antonioni's Blow-Up." Revista de Estudios Hispanicos. 29(1-2):169-76. 2002.

Cole, Douglas.
"Antonioni's Blow-Up and Pirandello's Shoot!" Literature/ Film Quarterly vol. 17 no. 2. 1989. pp: 129-133.
Finds closer parallels with "Blowup" in Pirandello's novel 'Si Gira' than the Julio Cortázar story commonly given as the film's inspiration.

D'Lugo, Marvin
"Signs and Meaning in "Blow-Up": From Cortázar to Antonioni." Literature/Film Quarterly 3:1 (1975:Winter) 23 5:1 (1977:Winter) 66
Compares the film with the short story.

Eberwein, Robert T.
"The Master Text of Blow-Up." Close Viewings: An Anthology of New Film Criticism / edited by Peter Lehman. pp: 262-81. Tallahassee: Florida State University Press ; Gainesville, FL : Orders to University Presses of Florida, c1990.
Main Stack PN1995.C543 1990

Elson, Brigid.
"Crucial Devices: The Role of the Media in Orwell, Waugh, Hitchcock and Antonioni." Antigonish Review, vol. 102-103. 1995 Summer-Autumn. pp: 133-4

Ferrua, P.
"Blow-Up from Cortázar to Antonioni." Literature/Film Quarterly Vol.IV nr.1 (Winter 1975-76); p.68-75
Although Antonioni claims to have used Cortázar's story only as a point of departure, in fact M.A.'s adaptation captures the essence of the original.

Francis, Richard Lee.
"Transcending Metaphor: Antonioni's Blow-Up." Literature/ Film Quarterly, vol. 13 no. 1. 1985. pp: 42-49.
In "Blowup" Antonioni transforms our natural assumptions about the fictive and dramatic nature of film.

Goldstein, Melvin.
"Antonioni's "Blow-Up": From Crib to Camera." American Imago 32:3 (1975:Fall) 240
UC users only

Goldstein, Melvin.
"The Negative Symbolic Environment in Antonioni's "Blow-Up". Journal of Aesthetic Education 8:1 (1974:Jan.) 27

Grønstad, Absjørn
"Anatomy of a Murder: Bazin, Barthes, Blow-Up." Film Journal, vol. 1, no. 9, pp. [no pagination], Summer 2004.

Harlos, Christopher.
"'Swinging London' and the Jazz Soundtrack: Alfie and Blow Up." University of Hartford Studies in Literature: A Journal of Interdisciplinary Criticism, vol. 21 no. 3. 1989. pp: 25-38.

Harris, Thomas.
"Rear Window and Blow-Up: Hitchcock's Straightforwardness vs. Antonioni's Ambiguity." Literature/ Film Quarterly, vol. 15 no. 1. 1987. pp: 60-63
Despite variations in narrative execution, Hitchcock and Antonioni share a desire to express themselves in a purely visual manner in "Rear window" and "Blowup".

Hutchings, Peter J.
"Modern Forensics: Photography and Other Suspects." Cardozo Studies in Law and Literature, 1997 Fall-Winter, 9:2, 229-43.

Hymer, Sharon
"Being in the Moment and Shifting Self-Perspectives." American Journal of Psychoanalysis, vol. 64, no. 1, pp. 27-38, March 2004.
UC users only
"Being in the moment can either heighten self-awareness through observation and interpretation or result in temporary loss of self through experiences of flow. Patients who can flexibly shift between these self-perspectives benefit the most from treatment. When patients risk breaking away from their fixed patterns, they experience a greater sense of aliveness and engagement. Patients who focus too much on the past or too little on the present have problems being centered. Case studies and Antonioni's film Blowup (1966) illustrate how our lives take on renewed meaning through sustaining a present focus." [PsychInfo]

Isaacs, Neil D.
"The Triumph of Artifice: Antonioni's Blow-Up." In: Modern European Filmmakers and the Art of Adaptation / edited by Andrew Horton and Joan Magretta. pp: 130-144. New York: F. Unger Pub. Co., 1981 (Series: Ungar film library)
Main Stack PN1997.85.M66
Moffitt PN1997.85.M66

Kester, Gary
""Blow-up": Cortázar's and Antonioni's." Latin American Literary Review 4:9 (1976:Fall/Winter) p.7

Lev, Peter.
"Blow-Up, Swinging London, and the Film Generation." Literature/ Film Quarterly, vol. 17 no. 2. 1989. pp: 134-137.
"Blowup" seen as Antonioni's ambiguous response to 1960's London, and as deliberately 'commercial' as it is 'artistic'.

Linderman, Deborah.
"Narrative Surplus: The 'Blow-Up' as Metarepresentation and Ideology." The American Journal of Semiotics, vol. 3 no. 4. 1985. pp: 99-118.

McDonald Carolan, Mary Ann
"Antonioni's Doubting Thomas: Resurrection and Self-Discovery in Blow-up" RLA: Romance Languages Annual, vol. 12, pp. 203-08, 2001

Mellor, D. A.
"'Fragments of an Unknowable Whole': Michelangelo Antonioni's Incorporation of Contemporary Visualities in London, 1966." Visual Culture in Britain v. 8 no. 2 (2007) p. 45-61
UC users only
"Michelangelo Antonioni's 1966 film Blow-Up was transformed by contact with and incorporation of contemporary British visual culture. What was exceptional during the planning and production of this major commercial film, filmed in London in the spring and summer of 1966, was Antonioni's incorporation of certain practices and sensibilities of particular painters, photographers, and art directors working in the city. One critical area of exploration for English artists at this time was the meanings thrown up by the photographic representation of contingent bodies, and one of the most powerful thematics of Blow-Up is the mutability of evidence, particularly photographs. The writer goes on to examine the pictorial contexts around the film's manufacture as well as some of those present, but effaced, contexts of contemporary British art and some of the deeper structures of British visual culture mobilized by Antonioni when he shot the film." [Art Index]

Menezes, Paulo
"Blow Up-Images and Mirages." Tempo Social: Revista de Sociologia da USP, 2000, 12, 2, Nov, 15-35
"This article analyzes Blow Up, Michelangelo Antonioni's film, so as to understand how its visual discourse questions the relationship between the real & the imaginary. Behind a crime we know nothing about & will never know, the search carried out by the photographer reveals & questions the relationships between the images & the things, whether photographs or films. He proposes meanings for their foundations & points of view, that set them apart from interpretations that see them as reproductions or representations of a real presupposed as being whole & preexistent. 26 References. Adapted from the source document." [Sociological Abstracts]

Ojam, Alberto E.
Antonioni/Cortázar: Blow-up. Edcion al cuidado de Alberto E. Ojam. [Buenos Aires, Cine Club Nucleo, 1968]. Series title: Cine ensayo 5.
UCB Main PN1997.B466 O4
NRLF $B 184 650

Palmer, W.J.
Blow-up: The Game with No Balls." Literature/Film Quarterly VII/4, 79; p.314-321. illus.
Defines the film's central theme as impotence.

Peavler, Terry J.
"The Mimetic Paradox in Contemporary Narratives: Cortázar and Antonioni." West Virginia University Philological Papers, vol. 30. 1984. pp: 97-101.

Peavler, Terry J.
"Blow-Up": A Reconsideration of Antonioni's Infidelity to Cortázar." PMLA, Publications of the Modern Language Association 94:5 (1979:Oct.) 887
"Antonioni's "Blow-Up" is one of the most significant and controversial films of the 1960s. Its success brought increased international recognition not only to its director but to Julio Cortázar, the author of the story that inspired the film. Because of the extreme complexity and ambiguity of both "Blow-Up" and its source, "Las babas del diablo," critics have been unable to agree in their interpretations of either work, and they agree even less on the extent of Cortázar's influence on Antonioni. A close analysis of the two works, with careful focus on the relationship between the creators and their protagonists and on the tension between the narratives and their self-conscious forms, reveals that many of the difficulties in interpretation are due to a priori assumptions of readers and viewers alike and that the similarities between the film and the story are far greater than has been supposed." [Periodicals Archive Online]

Pressler, Michael.
"Antonioni's Blow-up: Myth, Order, and the Photographic Image." Post Script, vol. 5 no. 1. 1985 Fall. pp: 42-59.
On "Blowup" as a landmark in the history of self-reflexive cinema.

Rubey, Dan
"Reading the Surface of the World: Photography and Perception in Hawthorne's House of the Seven Gables, Teshigahara's Woman in the Dunes, and Antonioni's Blow-Up." Selecta: Journal of the Pacific Northwest Council on Foreign Languages, 1986, 7, 123-130.

Schliesser, John
"Antonioni's Heideggerian swerve." Literature/Film Quarterly Vol.XXVI nr.4 (Oct 1998); p.278-287
"The origins of "Blowup" are found in Julio Cortázar's 'Las babas del diablo'; cites its concerns, and the many changes made in the cinematic adaptation, as being representative of Antonioni's metaphysical dimension, referring esp. to Heidegger's writings on vision." [FIAF]

Snowden, Lynn
"Through the Loupe:At last the answer: Which photographer inspired Antonioni's "Blow-Up"? American Photographer 19:6 (1987:Dec.) 16

Tomasulo, Frank P.
"'The Sounds of Silence': Modernist Acting in Michaelangelo Antonioni's Blow-Up." In: More than a method : trends and traditions in contemporary film performance / Edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo. pp. 94-125, Detroit: Wayne State University Press, c2004.
MAIN: PN1995.9.A26 M67 2004

Tomasulo, Frank P.
""You're tellin' me you didn't see": Hitchcock's Rear window and Antonioni's Blow-up." In: After Hitchcock : influence, imitation, and intertextuality / edited by David Boyd and R. Barton Palmer. Austin, TX : University of Texas Press, 2006.
Main Stack PN1998.3.H58.A68 2006

Turner, Dennis.
"The Subject of The Conversation." Cinema Journal, vol. 24 no. 4. 1985 Summer. pp: 4-22.

Wagstaff, Chris.
"Sexual Noise." Sight and Sound 1992 May. pp: 32-35.
Argues that the love stories in "Blowup" are there to enable Antonioni to explore the basis upon which we make ethical choices.

Wendorf, Richard
"Antonioni's "Blow-Up": Implicated Artists and Unintentional Art." Journal of Aesthetic Education 16:1 (1982:Spring) 57

Williams, Megan.
"A surface of forgetting: the object of history in Michelangelo Antonioni's Blowup." Quarterly Review of Film and Video (17:3) 2000, 245-59. (2000)
"In Blowup, a film directed by Michelangelo Antonioni, history is transformed into objects. The most obvious example of the film's transformation of the past into an object are pictures taken in a park by Thomas, a photographer who spends his days with models and his nights shooting pictures of the homeless. His visit to the park is also framed by visits to an antique store, which foreground the significance of the act of turning the past into objects for both the film and Thomas, whose purpose is to collect and dispose of these pasts. The transformation of the past occurs in objects like the photographs from the park, a guitar he takes from the Ricky Tick, a "go Away" protest sign, the antique store, and an airplane propeller Thomas buys there. Disturbingly, the film also displays a remarkable ability to transform the characters and actors in it into objects, including its use of a top Vogue model and a performance by the Yardbirds." [Art Index]

Chung kuo China

Bachmann, Gideon
"Antonioni after China: art versus science." Film Quarterly v 28 no4 Summer 1975. p. 26-30
Interview with M.A. concentrating on his documentary on China and the controversy surrounding it.

Barker, J.M.
"Bodily Irruptions: The Corporeal Assault on Ethnographic Narration." Cinema Journal XXXIV/3, Spring 95; p.57-76. bibliogr.
Antonioni's documentary "Chung kuo China" is used to demonstrate the implied cultural superiority in the narrative of ethnographic films.

Eco, Umberto
"De interpretatione, or the difficulty of being Marco Polo." Film Quarterly XXX/4, Summer 77; p.8-12.
Discusses the cultural gaps between the West and East which led to the controversy over Antonioni's documentary at the Venice Biennale.

Lane, John Francis
"Antonioni discovers China." Sight & Sound; Vol.XLII nr.2 (Spring 1973); p.86-87
The making of Antonioni's documentary on China

"Refuting Antonioni's Slanders Against Linhsien County." Peking Review 17:8 (1974:Feb. 22) p.13

A Vicious Motive, Despicable Tricks: A Criticism of M. Antonioni's anti-China Film China"
Renmin Ribao commentator. Peking: Foreign Languages Press, 1974.
NRLF $B 507 358

Yen, Hua
"Whose "Instrument" Is He? - Commenting on M. Antonioni's "defence"." Peking Review 17:16 (1974:Apr. 19) p.27

L'Eclisse (Eclipse)

Affron, Mirella Jona.
"Text and Memory in Eclipse." Literature/ Film Quarterly vol. 9 no. 3. 1981. pp: 139-151.
Closely examines the shots that comprise the concluding montage of "L'Eclisse".

Arouimi, Michel.
"La Rome d'Antonioni dans L'Eclipse." In: La memoire des villes = The memory of cities / sous la direction de = edited by Yves Clavaron et Bernard Dieterle. Saint-Etienne : Publications de l'Universite de Saint-Etienne, 2003.
Environ Dsgn PN56.C55.M46 2003

Bonsaver, Guido
"Geometry of feelings." Sight & Sound v. ns15 no. 7 (July 2005) p. 22-4
UC users only
"The high-modernist cinema of Michelangelo Antonioni came back to the big screen in June 2005 with the rerelease of L'eclisse. The film, the third in a black-and-white trilogy that established Antonioni as a groundbreaking director, offers a renewed opportunity to appreciate the full sophistication of Antonioni's black-and-white work and provides a study in how modern culture defines current perceptions of reality." [Art Index]

Esposito, Joan.
"Antonioni and Benjamin: Dialectical Imagery in Eclipse." Film Criticism, vol. 9 no. 1. 1984 Fall. pp: 25-37.
UC users only

Holland, Norman N.
"Not Having Antonioni." Hudson Review 16:1 (1963:Spring) p.89
UC users only

Kovács, András Bálint.
"A Modern Melodrama: Antonioni’s Eclipse (1962)." In: Screening modernism : European art cinema, 1950-1980 / András Bálint Kovács. Chicago : University of Chicago Press, c2007.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1993.5.E8 K68 2007

Moore, Kevin Z.
"Eclipsing the Commonplace: the Logic of Alienation in Antonioni's Cinema." Film Quarterly v48, n4 (Summer, 1995):22.
Alienation is portrayed as a learning experience rather than a bad experience in the films of Antonioni. Antonioni's characters become alienated through disenchantment and this disenchantment leads to

Nowell-Smith, Geoffrey.
"Antonioni: Before and After." Sight and Sound v5, n12 (Dec, 1995):16 (5 pages).
The main reason for the success of Michelangelo Antonioni's movies, 'L'avventura,' 'The Eclipse' and 'The Desert' is the lifelike portrayal of his characters. Antonioni's movies, released in the 1960s, all have a mystery thereby creating excitement and suspense. Antonioni's characters live in the present, without that much emphasis on their past or future.

Moore, Kevin Z.
"Eclipsing the Commonplace: The Logic of Alienation in Antonioni's Cinema." Film Quarterly v48, n4 (Summer, 1995):22.
Alienation is portrayed as a learning experience rather than a bad experience in the films of Antonioni. Antonioni's characters become alienated through disenchantment and this disenchantment leads to reflection and greater knowledge. 'L'eclisse' and other films are examined.

Orban, Clara.
"Antonioni's Women, Lost in the City." Modern Language Studies. 31(2):11-27. 2001 Fall

Peck, Ron
"hance encounters." Sight & Sound Vol.IV nr.12 (Dec 1994); p.61
Director R.P. recalls the effect of a teenage viewing of "L'eclisse".

Perez, Gilberto.
"The Point of View of a Stranger: An Essay on Antonioni's 'Eclipse.'" Hudson Review v44, n2 (Summer, 1991):234 (29 pages).
UC users only

Tarnowski, J. F.
"Identification d'une oeuvre: Antonioni et la modernit?." Positif; nr.263 (Jan 1983); p.44-54
The modern style of direction of M.A., his anti-dramaticism. Example from "L'eclisse" as compared with the classicism of "Lola Montes".

Vitti, Monica
"Eclipse." Theatre Arts 46:7 (1962:July) 7

Il Grido

Brown, James.
"Il Grido: Modernising the Po." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 26:(no pagination). 2003 May-June

Martin, John
"Foutre le camp au Venezuela: The Il grido French connection." Film Criticism IX/1, Fall 84; p.38-46.
UC users only
Explores the relationship between French cinema of the 1930's and neorealism, with emphasis on "Il grido".

Orr, Christopher "Oedipus on the Po." Film Criticism IX/1, Fall 84; p.8-16.
Discusses point-of-view shots in "Il Grido" in terms of Oedipal conflicts.
UC users only

Snyder, Stephen
"Antonioni's Il Grido: Decentering the Self: Man as Image." Italian Culture, 1983, 4, 93-105

Identificazione di una Donna

Amiel, Vincent
"Identification d'une femme." Positif; nr.262 (Dec 1982); p.56-57

Audé, Françoise; others
"Michelangelo Antonioni." Positif; nr.263 (Jan 1983); p.20-54
On the occasion of the release of "Identificazione di una donna", a study of the work of M.A., with an interview on his new film.

Bachmann, Gideon
"A Love of Today: An Interview." with Michelangelo Antonioni."Film Quarterly XXXVI/4, Summer 83; p.1-4.
Talks about his film "Identificazione di una donna" and contemporary relationships between men and women.

Kelly, W.
"Identification of a Woman." (Review). Film Quarterly XXXVII/3, Spring 84; p.37-43. illus.

O'Healy, Aine
"Oedipus Adrift: Unravelling Patriarchy in Antonioni's Identificazione di una Donna" RLA: Romance Languages Annual 1989, 1, 56-61.

Powers, John
"Antonioni's magnificent impasse." Film Comment Vol.XXXVI nr.4 (July-Aug 2000); p.52
"Michelangelo Antonioni's elusive and challenging work Identification of a Woman has finally been released on video. His first proper film after the triumph of The Passenger, the movie was dismissively reviewed when it hit New York in 1982. Watching the film on video today, there seems to be more cinematic mastery in this film than in 15 years of Woody Allen. An evaporating detective story, Antonioni's film follows Niccolo Farra (Tomas Milian) as a film director searching for both a muse for his next film and a lover to replace his ex-wife. The director uses this quest as a method to rework familiar themes, including the uneasy existential yearning of the observer/artist, the corruptions of contemporary life, and the modern crisis of the heterosexual couple. Antonioni shows a masterly command of imagery throughout, but his style has always left little margin for error, and the errors here are bothersome." [Art Index]

Ranvaud, Don
"Identificazione di una donna (Identification of a woman)."Monthly Film Bulletin Vol.L nr.590 (Mar 1983); p.59-62

Shipman, David
"Identification of a woman." Films & Filming nr.342 (Mar 1983); p.33

La Notte

Burke, F.
"The natural enmity of words and moving images: language, La notte, and the death of the light." Literature/Film Quarterly Vol.VII nr.1 (1979); p.36-46
The enmity between words and moving images, Michelangelo Antonioni - the most explicit critic among filmmakers of language, and "La notte" - his film most given to the problem of language.

Lopate, Phillip
"Anticipation of La notte: the "heroic" age of moviegoing." In: Totally, tenderly, tragically : essays and criticism from a lifelong love affair with the movies / p. 3-26 1st Anchor Books ed. New York: Anchor Books/Doubleday, 1998.
Main Stack PN1995.L627 1998

Orban, Clara.
"Antonioni's Women, Lost in the City." Modern Language Studies. 31(2):11-27. 2001 Fall

Rudman, Mark
"The Night: On Michelangelo Antonioni." Raritan: A Quarterly Review, vol. 14, no. 2, pp. 83-108, Fall 1994.

The Passenger

Atwell, L.
"The Passenger." Film Quarterly Vol.XXVIII nr.4 (Summer 1975); p.56-61

Di Piero, W. S
"The Passenger." In: Memory and Enthusiasm : Essays, 1975-1985 / by W.S. di Piero. pp: 12-24. Princeton, NJ: Princeton University Press, c1989.
Main Stack PS3554.I65.M41 1988

Di Piero, W. S
"On Film: Antonioni's "The Passenger" American Poetry Review 4:5 (1975:Sept./Oct.) p.8

Dick, Bernard F.
"The Passenger" and Literary Existentialism." Literature/Film Quarterly
Analyses the film as a departure from the assumed-identity genre and compares it to Camus' 'L'Étranger'.

Epstein, Renee
"Antonioni Speaks - and Listens." Film Comment 11:4 (1975:July/Aug.)

Gatt, Luis
"Knowledge and Perception: Some Reflections on Antonioni's The Passenger in the Light of Locke, Hume, and Molyneux's Question." The Italianist: Journal of the Department of Italian Studies, University of Reading. 20:313-30. 2000

Giroux, Henry
"The passenger." Cineaste Vol.VII nr.1 (Fall 1975); p.37-39

Gliserman, M.
"The passenger. An individual in history." Jump Cut nr.8 (Aug-Sept 1975); p.1, 6-7

Gow, Gordon
"The passenger." Films & FilmingVol.XXI nr.11 (Aug 1975); p.38

King, Homay.
"'All the Shapes We Make': The Passenger's Flight from Formal Stagnation." Qui Parle: Literature, Philosophy, Visual Arts, History. 11(2):115-25. 1999 Fall-Winter

Lockhart, Kimball
"Blockade and Passage in The Passenger." Diacritics 1985 Spring, 15:1, 74-84.

Orr, J.
"Camus and Carne transformed: Bergman's "The Silence" versus Antonioni's "The Passenger". Film International v. 5 no. 3 (2007) p. 54-62
UC users only
"The writer compares and contrasts Ingmar Bergman's The Silence (1962) and Michelangelo Antonioni's The Passenger (1974), two of the great modernist films of their period. The genesis of both films lies in the era of French classical cinema and the rise of existentialism in philosophy and writing, the former of which produced one of France's great film directors in Marcel Carne and the latter of which produced one of its great modern writers in Albert Camus. Essentially, Bergman's film was a tight interior shoot, while Antonioni's film was a logistically complex location feature that also took in an extra country--Algeria." [Art Index]

Perry, T.
"Men and landscapes: Antonioni's 'The passenger'." Film Comment Vol.XI nr.4 (July-Aug 1975); p.2-6
Analysis of the theme of the journey in the film and a detailed account of the final 7 minute shot.

Reilly, C.P.
"The passenger." (review) Films in Review Vol.XXVI nr.5 (May 1975); p.315

Roud, Richard
"The passenger." (review) Sight & Sound; Vol.XLIV nr.3 (Summer 1975); p.134-137
Analysis showing that the final sequence is what generated the whole film and that the vision of such a scene retroactively created everything which leads up to it.

Ryan, Tom
"The passenger." (review) Cinema Papers nr.8 (Mar-Apr 1976); p.367-369

Stanton, Edward F.
"Antonioni's "The Passenger": A Parabola of Light." Literature/Film Quarterly 5:1 (1977:Winter) 57
Analyses the film and its relationship to earlier Antonioni films.

Stewart, G.
"Exhumed identity: Antonioni's Passenger to nowhere." Sight & Sound;Vol.XLV nr.1 (Winter 1975-76); p.36-40
Analysis of the theme of the journey.

Turner, Jack
"Antonioni's The Passenger and identity/identifying." Quarterly Review of Film and Video (17:2) 2000, 127-35. (2000)

Turner, Jack
"The Passenger, Lacan, and the Real."Post Script IX/1-2, Fall-Winter 89-90; p.53-66.
A Lacanian reading of "Professione: reporter" and its treatment of identity.

Turner, Jack
"Antonioni's The Passenger as Lacanian Text." Other Voices, v.1, n.3 (January 1999) (no pagination)

Walsh, Michael TI:
"The passenger. Antonioni's narrative design." Jump Cut nr.8 (Aug-Sept 1975); p.7-10

Red Desert

Brunette, Peter, Bertellini
"Deserto rosso/Red Desert." In: The cinema of Italy / Edited by Giorgio Bertellini. pp. 153-61. London ; New York : Wallflower, 2004.
MAIN: PN1993.5.I88 C5677 2004
MOFF: PN1993.5.I88 C5677 2004

Dalla Vacche, Angela
"Antonioni's Red Desert." In: Post-war cinema and modernity : a film reader / edited by John Orr and Olga Taxidou. New York, NY : New York University Press, 2001.
Main (Gardner) Stacks PN1994 .P6567 2001
Pacific Film Archive PN1994 .P6567 2001

Kirkham, Victoria.
"The Off-Screen Landscape: Dante's Ravenna and Antonioni's Red Desert." In: Dante, cinema, and television / Edited by Amilcare A. Iannucci. pp. 106-28. Toronto : University of Toronto Press, c2004.
MAIN: PQ4433 .D35 2004

Manceaux, M.
"In the red desert." Sight & Sound v. 33 no. 3 (Summer 1964) p. 118-19

Roud, R., et. al.,
"Red desert." Sight & Sound v. 34 no. 2 (Spring 1965) p. 76-81+

Zabriskie Point

Canby, V.
"Zabriskie Point." In: American movie critics : an anthology from the silents until now / edited by Phillip Lopate. New York : Library of America : Distributed to the trade by Penguin Putnam, c2006.

Main Stack PN1995.A448 2006

Moffitt PN1995.A448 2006

PFA PN1995.A72 2006

Gindoff, Bryan
"Thalberg Didn't Look Happy: With Antonioni at Zabriskie Point." Film Quarterly 24:1 (1970:Fall) 3

Gow, Gordon Films & Filming Vol.XXI nr.10 (July 1975); p.32-37
"A Michelangelo Antonioni film Zabriskie Point."
Reassessment of the film.

Gandy, Matthew
"The cinematic void: desert iconographies in Michelangelo Antonioni's Zabriskie Point." In: Landscape and film / edited by Martin Lefebvre. New York : Routledge, 2006.
PN1995.67.A1.L36 2006

Jebb, J.
"Intimations of reality: getting the Zabriskie point." Sight & Sound v. 39 no. 3 (Summer 1970) p. 124-6

Kinder, M.
"Zabriskie point." Sight & Sound v. 38 no. 1 (Winter 1968-1969) p. 26-30

Morgan, Diane.
"Postmodernism and Architecture." In: The Routledge companion to postmodernism / edited by Stuart Sim. London ; New York : Routledge, 2001.
Grad Svcs B831.2.R68 2001 Non-circulating; may be used only in Graduate Services.
Main Stack B831.2.R68 2001

Rampell, Ed.
"The Whole World was Watching: Power to the People Pictures." In: Progressive Hollywood : a people's film history of the United States. New York : Disinformation ; St. Paul, MN : Distributed in the USA and Canada by Consortium Book Sales and Distribution, c2005.
Main (Gardner) Stacks PN1995.9.P6 R34 2005
Moffitt PN1995.9.P6 R34 2005

Villella, Fiona A.
"Here Comes the Sun: New Ways of Seeing In Antonioni's Zabriskie Point." Senses of Cinema

Walker, Beverly.
"Michelangelo and the Leviathan: The Making of 'Zabriskie Point.'" (director Michelangelo Antonioni) Film Comment v28, n5 (Sept-Oct, 1992):36 (10 pages).
The making of 'Zabriskie Point' in 1968 was hampered by studio politics and a disloyal film crew who disliked the subject matter of the film. Michelangelo Antonioni's film deals with youthful rebellion and includes a dream-like love-in scene.

Yacowar, Maurice
"Private and public visions: Zabriskie Point and Billy Jack." Journal of Popular Film and Television Vol.I nr.3 (Summer 1972); p.197-207
Discusses differences and similarities in approach to revolutionary and other themes in "Billy Jack" and "Zabriskie Point".





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