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  1. L’Archivio Michelangelo Antonioni è costituito da materiali che riflettono e documentano l’universo intellettuale, estetico e affettivo del regista e che permettono di addentrarsi nel suo cinema e, più in generale, in tutta la sua attività, anche quella critica, letteraria e artistica. I film. Gente del Po.

  2. 米开朗基罗·安东尼奥尼(Michelangelo Antonioni,1912年9月29日—2007年7月30日),出生于意大利艾米利亚-罗马涅费拉拉,意大利导演、编剧、剪辑,毕业于波隆那大学。1943年,独立执导个人第一部电影《波河的人们》,从而开启了他的导演生涯。1950年,执导爱情犯罪片《爱情编年史》。

  3. Michelangelo Antonioni. (Ferrara, 1912 - Roma, 2007) Director de cine italiano. Unos planos largos y espaciosos van siguiendo a sus personajes hasta que su esencia se revela a la mirada. A través de una inmovilidad calmosa, las tomas transmiten la despótica presión que el tiempo ejerce sobre las emociones del ser humano.

  4. Sito italiano dedicato a Michelangelo Antonioni, biografia, film, cortometraggi, documentari, approfondimenti, critica, premi e tutto quanto possa esaltare l'arte del grandissimo regista.

  5. 1 de dic. de 2014 · Michelangelo Antonioni invented a new film grammar with this masterwork. An iconic piece of challenging 1960s cinema and a gripping narrative on its own terms, L’avventura concerns the enigmatic disappearance of a young woman during a yachting trip off the coast of Sicily, and the search taken up by her disaffected lover (Gabriele Ferzetti) and best friend (Monica Vitti, in her breakout role).

  6. www.archivioantonioni.it › enArchivio Antonioni

    The Michelangelo Antonioni Archive contains materials relating to the intellectual, aesthetic and emotional world of the director and make it possible to explore his cinema and, more generally, all his broader professional activities, including his critical, literary and artistic work. The films. Gente del Po.

  7. 21 de may. de 2002 · filmography. bibliography. articles in Senses. web resources. The films of Michelangelo Antonioni are aesthetically complex – critically stimulating though elusive in meaning. They are ambiguous works that pose difficult questions and resist simple conclusions. Classical narrative causalities are dissolved in favour of expressive abstraction.

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