The Emotional Historiography of Michelangelo Antonioni’s L’Eclisse

Research output: Contribution to journalArticle

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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.
Original languageEnglish
JournalScreening the Past
Issue number41
Publication statusPublished - 21 Dec 2016

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Historiography
Emotion
Rejection
Italy
Rome
Liberation
Cold War
Art
1960s
Art Media
Modernist
New Media
Love Affair

Cite this

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title = "The Emotional Historiography of Michelangelo Antonioni’s L’Eclisse",
abstract = "In Michelangelo Antonio’s L’Eclisse (1962), Cold War Rome is conceived of as a sequence of controlling frames from which thecamera seeks liberation. In the opening sequence a reversed picture frame vies with an electric fan in a modernist flat to convey thegrueling endgame of a long­term love affair in terms of the conflict between traditional and contemporary art media. This paperexamines the film’s contribution to an understanding of the emotional necessity behind contemporary art’s rejection of the past andthe birth of new media in 1960s Italy.",
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The Emotional Historiography of Michelangelo Antonioni’s L’Eclisse. / Read, Richard.

In: Screening the Past, No. 41, 21.12.2016.

Research output: Contribution to journalArticle

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AB - In Michelangelo Antonio’s L’Eclisse (1962), Cold War Rome is conceived of as a sequence of controlling frames from which thecamera seeks liberation. In the opening sequence a reversed picture frame vies with an electric fan in a modernist flat to convey thegrueling endgame of a long­term love affair in terms of the conflict between traditional and contemporary art media. This paperexamines the film’s contribution to an understanding of the emotional necessity behind contemporary art’s rejection of the past andthe birth of new media in 1960s Italy.

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