According to directors and directors of photography choosing the appropriate shot scale for a scene is primarily an issue of narrative function. However, especially in the practice of art cinema preference of specific shot scales may be an important indicator of a particular style. In some cases statistical analysis of overall shot scale distribution in films reveals consistent and recurrent patterns of shot scale distribution in an author's work. Such a consistency is surprising, because it cannot be the result of conscious decision. No filmmaker plans the proportion of each shot scale in a film. This article investigates a systematic variation of shot scale distribution (SSD) patterns disclosed in the films of Michelangelo Antonioni, and Ingmar Bergman, which raises a number of questions regarding the possible aesthetic and cognitive sources of such a regularity.
András Bálint Kovács
Frank P. Tomasulo and Jason Grant McKahan
Although the extant scholarly literature on the cinema of the late Michelangelo Antonioni has often valorized his use of images and mise-en-scène to explore themes and reflections on humanism and alienation, few have examined the means by which the director conveyed ideas on psychology and sexuality in modern life and Italian culture. This article considers Antonioni's "trilogy"—L'avventura (The Adventure, 1959), La notte (Night, 1960), and L'eclisse (Eclipse, 1962)—in light of the modernist project, especially with regard to the conjuncture of psychology and sexuality within the historical context of the 1960s and the sexio-psychological discourses of that period. Finally, Antonioni's worldview is investigated, particularly as it pertains to his stated concept of malattia dei sentimenti, or "Sick Eros."
Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia
boredom as a narrative theme and therefore use it as a general sense of mood within their own diegetic universe. In fact, themes of modern alienation and the individual’s estrangement from society were so frequently ascribed to Michelangelo Antonioni’s
studies, or patients’ reports. Hundreds of films deal with what could be diagnosed as forms of depression: films as different as Red Desert (Il Deserto Rosso; Michelangelo Antonioni, 1964), Taxi Driver (Martin Scorsese, 1976), Fight Club (David