Utilize este identificador para referenciar este registo: https://hdl.handle.net/1822/71454

TítuloShadow and false brightness on Michelangelo Antonioni’s cinema
Autor(es)Rosmaninho, João
Brito, Eduardo
Data16-Jan-2019
Resumo(s)Michelangelo Antonioni’s films are the epitome of darkness: not the phenomenal, but one other that, although it also cannot be seen, lies upon the interiority of the characters and the abstraction of the spaces: obscured and tormented individuals mostly operating in double layered environments. In Antonioni’s films, darkness is a state of mind, an existential condition, expressed not only through action and characters (The Passenger), but also through titles (The Night, The Eclipse). This presentation will establish a connection between the inner shadow of Antonioni’s characters and their metaphors through architectures and locations (The Adventure, Red Desert, Blow Up, Zabriskie Point), demonstrating a concomitant bright vision and dark version. Blankness is a way of not seeing, such as of darkness or blindness themselves. To conclude, the presentation will start addressing a scene at the end of “The Passenger” in which the protagonist David Locke says to the girl: “I know a man who was blind [but] when he was nearly 40 years old, he had an operation and regained his sight. (…) After he regained his sight… he became afraid. He began to live in darkness.”
TipoComunicação oral
URIhttps://hdl.handle.net/1822/71454
Arbitragem científicayes
AcessoAcesso aberto
Aparece nas coleções:EAAD - Comunicações

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Abstract_DARKNESS.pdfCommunication117,15 kBAdobe PDFVer/Abrir

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