Abstract
In Michelangelo Antonio’s L’Eclisse (1962), Cold War Rome is conceived of as a sequence of controlling frames from which the
camera seeks liberation. In the opening sequence a reversed picture frame vies with an electric fan in a modernist flat to convey the
grueling endgame of a longterm love affair in terms of the conflict between traditional and contemporary art media. This paper
examines the film’s contribution to an understanding of the emotional necessity behind contemporary art’s rejection of the past and
the birth of new media in 1960s Italy.
camera seeks liberation. In the opening sequence a reversed picture frame vies with an electric fan in a modernist flat to convey the
grueling endgame of a longterm love affair in terms of the conflict between traditional and contemporary art media. This paper
examines the film’s contribution to an understanding of the emotional necessity behind contemporary art’s rejection of the past and
the birth of new media in 1960s Italy.
| Original language | English |
|---|---|
| Journal | Screening the Past |
| Issue number | 41 |
| Publication status | Published - 21 Dec 2016 |
