Antonioni and the Aesthetics of Impurity : : Remaking the Image in the 1960s / / Matilde Nardelli.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2020
• VerfasserIn: Nardelli, Matilde,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2020
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource (248 p.) :; 35 B/W illustrations
• Other title: Frontmatter --; Contents --; Figures --; Acknowledgements --; Introduction: Antonioni and the Aesthetics of Impurity --; 1 Impure Pictoriality: The Matter of Painting --; 2 Performing the Mind: Interiority, Television and Artificial Brains --; 3 (Quietly) Noisy Images: Sonic Landscapes, Audiotape and ‘the New Musicality’ --; 4 The ‘Image-World’ and the Reality of Photography --; 5 Uncinematic Provocations and the Pursuit of Boredom --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781474444064; 9783110780413
• DOI: 10.1515/9781474444064
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Matilde Nardelli.

Discusses Antonioni’s cinema in relation to art and other mediaCritically and comprehensively explores the relation between Antonioni’s cinema and art in the 1960s and 1970s, at a time of profound transformation in, and dialogue between, both cinema and art Moves away from traditional readings of Antonioni’s cinema in terms of ‘purity’ by addressing its engagement with mixed and mass mediaApproaches Antonioni’s work through a comparative – trasnational and transmedial – lens Addresses the legacy of Antonioni’s cinema in contemporary artMichelangelo Antonioni’s 1960s films are widely recognized as both exemplars of cinema and key texts in ushering in cinema’s ‘modern’ incarnation. Reconnecting Antonioni’s aesthetically audacious films of the 1960s to the ferment of their historical time, Antonioni and the Aesthetics of Impurity addresses these works’ crucial, yet overlooked, affinity with the new ‘impure’ art practices that emerged in the period. At the same time, the book also offers a novel reading of the films’ dialogue with postwar pictorial abstraction. Revealing an Antonioni who embraced both mixed and mass media and reflected on them via his cinema, the book replaces auteuristic accounts of the director’s work with a new understanding of its critical significance in late-twentieth century cinema and visual culture.