Podcast appearances and mentions of Michelangelo Antonioni

This month's micro-episode takes us inside the mysterious, sensual brilliance of Michelangelo Antonioni's The Passenger, a curated pick from director Ezra Edelman:"The idea of wanting to live with purpose, even if it's someone else's purpose—there's just something so human about it."We get into: the comfort of slow cinema that doesn't feel slow, the aesthetics of existential malaise, the virility of 70s'-era Nicholson, the intensity of traveling relationships, and more.--Bonus Feature: We'll be hosting a special live discussion on The Passenger over at Galerie on May 20th at 3pm EST/12pm PST. We'd love to have you join the conversation!--Hosts: Veronica Fitzpatrick⁠⁠ &⁠ Chad Perman⁠⁠Producer: Eli Sands⁠⁠Editor: ⁠⁠Buczar⁠⁠ Music: Chad Perman--This episode is sponsored by ⁠Galerie⁠, a new kind of film club where you can chat directly with filmmakers, watch groundbreaking movies, and discover stories that bring you closer than ever to the craft and culture of cinema.To enjoy one month of Galerie for free, and then receive 50% off the next three months, visit ⁠Galerie.com⁠ and enter the code “BWDR” when you sign up.

Jack Nicholson in an existential mystery directed by Michelangelo Antonioni

Det finnes en haug med tv-serier lagt til arbeidsplassen: The Office, Etaten, Parks and Recreation, Mad Men, The IT Crowd. Det er noe med kontorlandskapet som gjør at det egner seg godt som åsted for både absurd humor og eksistensielt drama. I dette avgrensede og lukkede miljøet kan serieskaperen boltre seg i en alle slags mennesketyper og fortelle noe sant og gjenkjennelig om kontrasten mellom den vi er og den arbeidsplassen eller samfunnet skulle ønske at vi var. Kjernekonseptet i Severance, som nå for tiden ruller ut andre sesong på strømmetjenesten AppleTV+, er en prosedyre som gjør det mulig å splitte personligheten i to. Den man er på jobb, har dermed ingen minner om hvem man er på fritiden. Ukens episode handler om det som ligger an til å bli en moderne tv-klassiker og om jobbkultur etter pandemien.Elises anbefaling: Kinofilmen All we imagine as light av Payal KapadiaAksels anbefaling: Michelangelo Antonioni-serie og Mars Express på Cinemateket i Oslo.Artikler nevnt i episoden:https://www.morgenbladet.no/kultur/film-og-tv/2025/01/17/severance-kan-allerede-utropes-til-en-moderne-klassiker/https://www.newyorker.com/magazine/2024/12/30/adam-scott-profilehttps://www.nrk.no/ostfold/_gen-z_-er-vanskeligere-a-lede-enn-andre-generasjoner-1.17173353 Hosted on Acast. See acast.com/privacy for more information.

Federico Vitella"Maggiorate"Divismo e celebrità nella nuova ItaliaMarsilio Editoriwww.marsilioeditori.itLa fortunata espressione “maggiorata”, coniata dallo sceneggiatore Continenza sul cantiere di Altri tempi (1952), uscì subito dal film di Blasetti per attaccarsi a Gina Lollobrigida. E da Gina Lollobrigida, nel discorso giornalistico come nella riflessione storiografica, finì presto per designare una batteria di attrici di successo, accomunata dalla non comune carica sessuale: Silvana Mangano, Silvana Pampanini, Sophia Loren su tutte.Le maggiorate erano contese dai principali produttori di Cinecittà, riempivano le sale di ogni ordine e grado, scatenavano inquietanti episodi di delirio collettivo, facevano notizia su quotidiani e rotocalchi, prestavano i connotati a icastici marchi del made in Italy, inauguravano festival ed eventi esclusivi, visitavano ufficialmente le autorità di mezzo mondo. Le maggiorate erano famose, erano celebrità, erano persone pubbliche. Erano dive. La loro salienza andava ben oltre il personaggio, il film, il cinema, per incarnare più generalmente forme di vita seducenti e modi di essere replicabili della nuova Italia repubblicana.Mescolando fonti e metodologie di ricerca, al divismo delle maggiorate questo libro intende dare la massima rilevanza quale agente di storia: fatto sociale capace di modificare prassi lavorative, creare forme della rappresentazione, veicolare discorsi di genere, mobilitare su larga scala desideri, aspirazioni, preoccupazioni. Nel momento in cui si paventa la morte della settima arte, l'immagine transmediale di Lollobrigida, Loren, Mangano e Pampanini ci riporta a quell'età dell'oro in cui il cinema stava nel pieno centro dell'industria culturale, e da lì si estendeva in tutte le direzioni possibili, offrendo generosamente miti, riti, beni che facevano da collante sentimentale al Paese.Federico Vitella(1977) è professore ordinario presso l'Università di Messina. Si occupa di storia del cinema italiano, con particolare attenzione per le culture della produzione, la genetica del film d'autore e i fenomeni divistici degli anni centrali del Novecento. La sua ultima monografia, premio Limina 2019 per la saggistica di area mediologica, è L'età dello schermo panoramico. Il cinema italiano e la rivoluzione widescreen (ETS 2018). Per Marsilio, ha scritto Il montaggio nella storia del cinema (2009), ha curato con Federico Pierotti il volume collettaneo Il cinema dello sguardo (2019), e ha realizzato l'edizione critica della commedia di Michelangelo Antonioni ed Elio Bartolini Scandali segreti (2012).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Rock News P.ta 102 Nuovo episodio de “Lo Strillone Rock” l'appuntamento settimanale (Podcast Rock) con le notizie dal mondo della musica Internazionale e Nazionale. Al microfono Ark. LA PLAY LIST AC/DC – You Shook Me All Night Long The Allman Brothers – Band Jessica David Bowie – Absolute Beginners Baustelle – Spogliami Gary Moore – Walking By Myself Jimmy Page & Robert Plant – Thank You Oasis – Columbia Green Day – Good Riddance (Time of Your Life) The Darkness – One Way Ticket LINKIN PARK – In the End LE NOTIZIE DA ASCOLTARE Demolita la casa dove vennero fondati gli AC/DC; Gli Allmans si riuniscono per il concerto tributo a Dickey Betts; I Baustelle sono tornati, più freak che mai; Jimmy Page e la comparsata degli Yardbirds in Blow Up di Michelangelo Antonioni; Oasis: sui social le prime ipotesi di scaletta; Suona i Green Day al Cavern Club e tra il pubblico c'è Billie Joe; Suona i Green Day al Cavern Club e tra il pubblico c'è Billie Joe.

Spéciale Monica Vitti, à l'occasion de la sortie de ses mémoires, rédigées en deux volumes dans les années 1990 et traduites pour la première chez Séguier. On en parle avec Dick Tomasovic, chargé de cours en histoire et esthétique du cinéma et des arts du spectacle à l'ULg. Une silhouette élégante et mystérieuse, une voix rauque, un regard qui semble se perdre dans la plus abyssale des mélancolies… Pendant plus de trente ans, la grâce et le talent de Monica Vitti ont envoûté des générations de spectateurs, tombés sous le charme de L'avventura, du Désert rouge ou de L'Éclipse. Face aux icônes de l'italianité, elle a incarné une femme moderne, troublante et surtout énigmatique, une façon d'être indéchiffrable, insaisissable, dont on lui laisse résumer la formule : « Comme toutes les femmes, j'ai deux visages. » Ces Mémoires, rédigés en deux volumes dans les années 1990 et traduits pour la première fois, lèvent le voile sur l'une des figures les plus secrètes du cinéma. Son enfance pendant la guerre, ses débuts au théâtre à l'insu de sa famille, sa rencontre avec Michelangelo Antonioni… Monica Vitti fait le récit d'une vie qui semble placée sous l'influence de l'existentialisme, elle évoque ses succès, ses doutes et ses amours – celui du jeu, surtout, et de la comédie, où elle irradie par son sens de l'improvisation et de l'autodérision. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 16h à 17h30 sur www.rtbf.be/lapremiere Retrouvez l'ensemble des épisodes et les émission en version intégrale (avec la musique donc) de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Abonnez-vous également à la partie "Bagarre dans la discothèque" en suivant ce lien: https://audmns.com/HSfAmLDEt si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Vous pourriez également apprécier ces autres podcasts issus de notre large catalogue: Le voyage du Stradivarius Feuermann : https://audmns.com/rxPHqEENoir Jaune Rouge - Belgian Crime Story : https://feeds.audiomeans.fr/feed/6e3f3e0e-6d9e-4da7-99d5-f8c0833912c5.xmlLes Petits Papiers : https://audmns.com/tHQpfAm Des rencontres inspirantes avec des artistes de tous horizons. Galaxie BD: https://audmns.com/nyJXESu Notre podcast hebdomadaire autour du 9ème art.Nom: Van Hamme, Profession: Scénariste : https://audmns.com/ZAoAJZF Notre série à propos du créateur de XII et Thorgal. Franquin par Franquin : https://audmns.com/NjMxxMg Ecoutez la voix du créateur de Gaston (et de tant d'autres...)

Felicia is joined by Riley Greenwood to discuss a film about a family who makes a questionable decision in Michael Haneke's The Seventh Continent (1989). We chat about how Haneke decision to not give the audience any answers but instead allows them to wonder why people make certain life decisions. Along with how the story is fragmented to disorient the viewer. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Riley here: IG: @rileydreamwood Letterboxd: @rileydreamwood Sources: https://www.theguardian.com/film/filmblog/2008/apr/30/hanekeshouseofhorrors https://www.sensesofcinema.com/2005/cteq/seventh_continent/#:~:text=The%20Seventh%20Continent%20seems%20postmodern,monstrousness%20of%20everyday%20bourgeois%20society. https://www.criterion.com/current/posts/8010-michael-haneke-s-alienation-effect https://flaszonfilm.com/2020/10/30/understanding-michael-haneke-the-seventh-continent-1989/ https://fresques.ina.fr/europe-des-cultures-en/fiche-media/Europe00218/interview-with-michael-haneke.html OUTRO SONG: Show of Strength by Echo and the Bunnymen FILMS MENTIONED: Amour (Michael Haneke 2012) Funny Games (Michael Haneke 1997) Fraulein – Ein deutsches Melodram (Michael Haneke 1986) Benny's Video (Michael Haneke 1992) The Piano Teacher (Michael Haneke 2001) The White Ribbon (Michael Haneke 2009) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) La notte (Michelangelo Antonioni 1961) Beau Travail (Claire Denis 1999) La cerémonie (Claude Chabrol 1995)

Alexandre e Fred convidam o músico Willian de Andrade para conversar sobre três excelentes filmes do cineasta Michelangelo Antonioni.  No episódio #64 do PFC já havíamos tratado da chamada “trilogia da Incomunicabilidade”, mas neste áudio retornamos com três outros grandes filmes da fase colorida do italiano: “O Deserto Vermelho” (Il deserto rosso, 1964), com a musa Monica Vitti no papel principal, “Blow-Up, Depois Daquele Beijo” (Blow-Up, 1966), produção da MGM filmada em Londres e “O Passageiro – Profissão: Repórter” (Professione: reporter, 1975) o último grande clássico de Antonioni, que foi estrelado por Jack Nicholson e Maria Schneider. Crédito da Foto: John Springer Collection/CORBIS/Corbis via Getty Images ---------------------- Acesse nosso site: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.filmesclassicos.com.br⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Acesse nossa página no Facebook : ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/podcastfilmesclassicos/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

El 'Cinema a la Xarxa' d'aquesta setmana est

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. For our fourth and final episode, Film Comment editor Devika Girish welcomes Adam and filmmaker and artist Madeleine Hunt-Ehrlich to discuss Maldoror's masterful 1969 directorial debut, Monagambeee, about a political prisoner in Portuguese-ruled Angola, as well as The Zerda and the Songs of Forgetting, novelist Djebar's 1982 archival elegy to the Algerian freedom struggle and women's place within it.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editor Devika Girish welcomes Adam, writer Clifford Thompson, and editor and organizer Cheryl Rivera about The Spook Who Sat by the Door, Ivan Dixon's explosive 1973 adaptation of the novel by Sam Greenlee about a black CIA agent who uses his specialized training to build a guerrilla revolutionary army.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editor Devika Girish welcomes Adam as well as Maysles executive director Kazembe Balagun and scholar and writer Brent Hayes Edwards to talk about the entanglements of race and class, and history and Hollywood in Pontecorvo's period epic Burn!, which stars Marlon Brando as a British agent provocateur who overthrows a Portuguese colony in the Caribbean by fomenting a slave revolt.

Last April, Film Comment invited writer Adam Shatz on the Podcast to talk about The Rebel's Clinic: The Revolutionary Lives of Frantz Fanon, his new biography of the Martinican writer, psychiatrist, and anti-colonial revolutionary. The Podcast explored Fanon's lasting impression on the world of cinema since his untimely death in 1961—and it became the basis for a four-day series of screenings and talks we presented last weekend, called The Rebel's Cinema—Frantz Fanon on Screen. The series took place at four cinemas across New York City, beginning at Film at Lincoln Center with Michelangelo Antonioni's The Passenger (1975), moving to Maysles Documentary Center in Harlem for Gillo Pontecorvo's Burn!, (1969), winding down to the Brooklyn Academy of Music for Ivan Dixon's The Spook Who Sat by the Door (1973), and finishing up at Anthology Film Archives with Sarah Maldoror's Monangambeee (1969) and Assia Djebar's The Zerda and the Songs of Forgetting (1982). Each screening was followed by a Q&A with special guests, which we're excited to share this week on the Podcast. On today's episode, Film Comment editors Devika Girish and Clinton Krute welcome Adam as well as critic and film editor Blair McClendon to discuss the Fanonian themes of alienation and objectivity in The Passenger, Antonioni's 1975 epic that stars Jack Nicholson as an American journalist who assumes the identity of a dead gunrunner caught up in a revolutionary conflict in Chad

In 2014, I became obsessed with the films of Michelangelo Antonioni and like an idiot ignored Zabriskie Point because some pesky critics didn't like it. I've now watched it more times than I can remember and hope in some ways this episode encourages you to seek it out.

Susipažįstame su spaudos publikacijomis kultūros tema.Kokia pjesės „Amerika pirtyje“ reikšmė lietuvių kalbai, kultūrai ir teatro istorijai?Kuo ypatingas Michelangelo Antonioni modernusis kinas ir jo muzikiniai kontrastai?Kuo ypatingas Upynos etnografijos muziejus? Ir kokie eksponatai sulaukia daugiausiai lankytojų dėmesio?Vilniaus muziejui perduotas saugoti Vytauto Kernagio palikimas. Ką bus galima išvysti muziejaus ekspozicijose?Vilniaus „Prospekto“ galerijoje startuos grupinė fotografijos paroda „reStart“.Po kiek daugiau nei trijų savaičių Paryžiuje prasidės Lietuvos sezonas Prancūzijoje. Apie paskutiniuosius štrichus jam ruošiantis kalbuosi su sezono komisare Virginija Vitkiene.Kelios savaitės kaip Visagine veikia Visagino miesto muziejus. Kokio susidomėjimo jis sulaukė?Ved. Marius Eidukonis

Alain Delon foi um ícone da história da 7ª Arte. Trabalhou com Luchino Visconti, Michelangelo Antonioni, Louis Malle, René Clément, Jean-Pierre Melville, Jean-Luc Godard, Romy Schneider, Monica Vitti, Claudia Cardinale, Jean-Paul Belmondo, Jean Gabin e tantos outros. Foi considerado "o homem mais bonito da história do cinema”, mas tinha uma personalidade reaccionária que nunca escondeu. Guillaume Bourgois, professor de Estudos Fílmicos, falou-nos sobre a “força magnética” e “tenebrosa” de Alain Delon. Alain Delon foi descrito como “o homem mais bonito da história do cinema” pela revista New Yorker, enquanto o jornal Corriere della Sera fala de uma lenda e de "estrela bela e maldita”. O El Pais recorda uma “aura incomparável” e “um ícone do cinema europeu conhecido pelo seu talento e pelo seu poder de sedução”, mas não esquece os seus comentários machistas e homofóbicos, nem a sua amizade declarada com a figura da extrema-direita francesa Jean-Marie Le Pen.O francês, que morreu aos 88 anos, entrou na 7ª Arte “por acidente” – dizia ele - e acabou por ser um dos seus protagonistas mais lendários. Foi actor em cerca de 90 filmes, foi realizador, produtor e até argumentista. Trabalhou com os melhores e maiores realizadores do seu tempo: Luchino Visconti, Michelangelo Antonioni, Louis Malle, René Clément, Jean-Pierre Melville, Alain Cavalier, Jean-Luc Godard. A sua história também cruzou os maiores actores de então: Romy Schneider, Monica Vitti, Claudia Cardinale, Jean-Paul Belmondo, Jean Gabin. As suas personagens integram o panteão de símbolos universais: Delon foi "O Leopardo", "Rocco", "Monsieur Klein", "O Samurai" e tantos outros.Neste programa, Guillaume Bourgois, professor de Estudos Fílmicos na Universidade de Grenoble, falou-nos sobre “a força magnética” e “misteriosa” de Alain Delon, um autodidacta que se tornou num dos monstros sagrados do cinema francês e europeu.Alain Delon foi um actor e uma figura importantíssima da história do cinema, especialmente da história do cinema moderno, desse novo cinema que aparece nos anos 60. Foi, sobretudo, graças a Visconti que o mundo ficou a conhecer o Alain Delon. Ele convidou Alain Delon a participar no “Rocco e i suoi fratelli” que é um filme extraordinário. Eu acho que foi mesmo o Visconti que descobriu a força magnética, quase aristocrática, que tinha o Delon na interpretação dele, na intensidade dos seus olhares, dos seus gestos. Depois, grande parte dos cineastas mais importantes foram sempre buscar essa energia, essa dimensão tenebrosa, misteriosa, enigmática que tinha o Delon e que fez com que ele pudesse ter essas interpretações extraordinárias nos papéis mais famosos.Alain Delon foi um artista que “fez avançar o cinema moderno”, mas também construiu “uma personalidade mediática extremamente egocêntrica”. O actor falava de si na terceira pessoa e inscreveu-se numa “tendência reaccionária da história da indústria cinematográfica francesa que sempre existiu de contestação dos meios de esquerda que estavam a tentar utilizar o cinema para desenvolver as suas ideias”. Defendeu, várias vezes, as posições do amigo Jean-Marie Le Pen, líder da extrema-direita francesa, e nunca refreou comentários machistas e homofóbicos.“Nos anos 90, essa legitimação [da extrema-direita] não existia e houve figuras que participaram francamente e de forma assumida para essa legitimação. Alain Delon foi uma delas, outra foi Brigitte Bardot. É sempre importante relembrarmos isso quando se fala do Alain Delon”, acrescenta o professor de Estudos Fílmicos.Neste programa, oiça a entrevista a Guillaume Bourgois sobre quem foi Alain Delon, quais foram os principais filmes, papéis e o legado que ele deixa para o mundo do cinema.

durée : 00:04:10 - Le Reportage de la Rédaction - "La grande bellezza" c'est la une du quotidien romain "Il Messaggero" ce matin pour rendre hommage à d'Alain Delon. Le comédien français était très populaire chez nos voisins, en particulier grâce à ses films devant les caméras de Luchino Visconti et Michelangelo Antonioni.

I was thinking a lot about thrillers that I watched as a kid and how many of them stayed with me longer than more kid-friendly genres. It is probably because I found them confusing and it forced my kid-brain to work twice as hard trying to figure them out. On this week's episode, I wanted to look at some of these thrillers from the 70s and 80s that stuck with me after seeing them on cable TV. They were so evocative that years later I would purposefully seek them out to fill in the blanks.First up, we have "The Conversation" from 1974, directed by Francis Ford Coppola. This thriller stars Gene Hackman as Harry Caul, a surveillance expert who becomes paranoid after recording a mysterious conversation. Coppola wrote the script in the mid-1960s but couldn't get it made until after the success of "The Godfather"? So her directed it between that film and its sequel. Worth it alone for the sound design, it is groundbreaking, earning Walter Murch an Academy Award nomination.Next is "Marathon Man" from 1976, directed by John Schlesinger. This film features Dustin Hoffman as a graduate student who gets caught up in a conspiracy involving a former Nazi war criminal, played by Laurence Olivier. One of the most famous scenes involves Olivier's character using dental torture. It is not fun. Moving on, we have "Blow Out" from 1981, directed by Brian De Palma. This neo-noir thriller stars John Travolta as a sound effects technician who accidentally records evidence of a political assassination. De Palma was inspired by Michelangelo Antonioni's "Blow-Up" (1966) and the real-life Chappaquiddick incident. Like “The Conversation,” the film's complex sound design plays a crucial role in the storytelling, making it a tremendous audio-visual experience.Finally, we have "Body Heat" from 1981, directed by Lawrence Kasdan. This steamy thriller features William Hurt and Kathleen Turner in a story of lust, deception, and murder. Turner's amazing performance as the femme fatale made her an instant star. The film was heavily influenced by classic film noir, particularly "Double Indemnity," and it brought the noir genre into the modern era with its explicit content and stylish direction.That's it for this episode of the Video Store Podcast. I hope you enjoy these picks as much as I do. Each of these films offers something unique, whether it's groundbreaking sound design, gripping suspense, or unforgettable performances. Until next time I see you in the shop, remember, be kind rewind.Subscribe to the Video Store Podcast* The Video Store Podcast* Apple Podcast* RSS This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

pWotD Episode 2665: Alain Delon Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 616,050 views on Sunday, 18 August 2024 our article of the day is Alain Delon.Alain Fabien Maurice Marcel Delon (French: [alɛ̃ dəlɔ̃]; 8 November 1935 – 18 August 2024) was a French actor. Acknowledged as a cultural and cinematic leading man of the 20th century, Delon emerged as one of the foremost European actors of the 1960s, 1970s, and 1980s, and became an international sex symbol. His style, looks, and roles made him an icon of cinema worldwide and earned him enduring popularity. Delon achieved critical acclaim for his roles in films such as Women Are Weak (1959), Purple Noon (1960), Rocco and His Brothers (1960), L'Eclisse (1962), The Leopard (1963), Le Samouraï (1967), The Girl on a Motorcycle (1968), La Piscine (1969), Le Cercle Rouge (1970), Un flic (1972), and Monsieur Klein (1976). Over the course of his career, Delon worked with many directors, including Luchino Visconti, Jean-Luc Godard, Jean-Pierre Melville, Michelangelo Antonioni, and Louis Malle.Delon received many film and entertainment awards throughout his career. In 1985, he won the César Award for Best Actor for his performance in Notre histoire (1984). In 1991, he became a member of France's Legion of Honour. At the 45th Berlin International Film Festival, he won the Honorary Golden Bear. At the 2019 Cannes Film Festival, he received the Honorary Palme d'Or.In addition to his acting career, Delon also recorded the spoken part in the popular 1973 song "Paroles, paroles", a duet with Dalida as the main singing voice. He acquired Swiss citizenship in 1999.This recording reflects the Wikipedia text as of 03:00 UTC on Monday, 19 August 2024.For the full current version of the article, see Alain Delon on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Emma.

durée : 00:04:10 - Le Reportage de la Rédaction - "La grande bellezza" c'est la une du quotidien romain "Il Messaggero" ce matin pour rendre hommage à d'Alain Delon. Le comédien français était très populaire chez nos voisins, en particulier grâce à ses films devant les caméras de Luchino Visconti et Michelangelo Antonioni.

El 'Cinema a la Xarxa' d'avui est

Intro music from:Arthemis - Survivor (Destiny's Child Cover)https://www.youtube.com/watch?v=xjYCOtYjCY4The Survivor is a 1981 supernatural horror Australian-British co-production directed by David Hemmings and starring Robert Powell, Jenny Agutter, and Joseph Cotten.In Adelaide, Australia (not Eton in the UK as in the original novel written by James Herbert), airline pilot David Keller (played by Powell) survives the crash of his Boeing 747-200, unhurt despite all 300 passengers dying in the accident. With no memories of the accident, he starts to suffer strange supernatural visions.Director David Hemmings is most famous for his acting roles, including Dildano in Barbarella, Marcus Daly in Dario Argento's Deep Red, and Thomas, the fashion photographer in the hugely successful avant-garde mystery film Blowup – a role turned down by Sean Connery because director Michelangelo Antonioni would not show him the full script but only a seven-page treatment stored in a cigarette packet. Hemmings would later feature in The League of Extraordinary Gentlemen with Connery 37 years later.Robert Powell, best known for his portrayal of a charismatic cult leader/son of a carpenter in the 1977 epic television drama series Jesus of Nazareth, also played secret agent Richard Hannay in The Thirty-Nine Steps, appeared in Ken Russell's Tommy as Captain Walker and, at the request of his friend and golf partner, comedian Jasper Carrott, co-starred in the BBC sitcom The Detectives (which ran for five series!). He also lent his voice to the 2002 rock opera The Hound of the Baskervilles by Clive Nolan and Oliver Wakeman, playing John Watson. Powell was considered for several roles in Lifeforce (featured in episode 39 of this podcast). A founder member of the Social Democratic Party in 1981, he campaigned alongside Barry Norman on behalf of the party's first leader, Roy Jenkins.Jenny Agutter (OBE), who plays the role of Hobbs the clairvoyant (a male character in the novel), is best known for her ongoing role in the inexplicably popular Call the Midwife. She also starred in two adaptations of The Railway Children, the critically acclaimed film Walkabout, and, relevant to this podcast, An American Werewolf in London (listen to episode 26 for more info). The film also features Joseph Cotten, (best man at Orson Welles's wedding to Rita Hayworth) appeared in five films selected for the National Film Registry by the Library of Congress for being "culturally, historically or aesthetically" significant. In addition to these classics, he appeared in many films and TV programs, including, pertinent to this podcast, one episode of Tales of the Unexpected. He later admitted, "I was in a lot of junk. I get nervous when I don't work." This was his final motion picture, suffering a stroke shortly after working on it.James Herbert, author of the source novel, sent a note to David Hemmings offering his assistance. He never received a reply, and in 1988 dismissed this film and the later Deadly Eyes (the film adaptation of The Rats) as "They're terrible...absolute rubbish. I can only say - don't blame me." The Survivor was Herbert's third novel, published in 1976, coming after The Rats and The Fog.The music for this film is by Brian May! …but not the one you're thinking of... This is the Australian Brian May, who has an impressive musical CV, including: The Blue Lagoon, Gallipoli, Mad Max, Mad Max 2: The Road Warrior, Missing in Action 2 and Freddy's Dead: The Final Nightmare.This was the first Australian movie to cost more than $1 million (Australian) to make. The location was shifted to OZ as a complex tax dodge, allowing English investors to completely write-off on the whole film. Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. Hosted on Acast. See acast.com/privacy for more information.

durée : 01:25:13 - Toute une vie - "L'Avventura", Monica Vitti, Ferrare, "Blow-up" ou "Profession : reporter" : autant de piliers de la vie et de l'œuvre de Michelangelo Antonioni. Fondamentale dans l'histoire du cinéma italien, c'est la vie du cinéaste italien qui se déplie ici dans un documentaire de près d'une heure et demi. - invités : Dominique Noguez Ecrivain français (1942-2019); Jacques Aumont Universitaire et critique de cinéma.; Jean Roudaut Essayiste et poète; Aldo Tassone Historien du cinéma et journaliste italien

A woman's mysterious disappearance pulls at the bond between her lover and her friend. Memory... hazy, unreliable memory. Charlie and Antonio take all this in and more in Michelangelo Antonioni's 1960 classic: L'AVVENTURA. Join them as they follow the beautiful Monica Vitti through Antonioni's illustriously misty Italy.  Intro/outro music: "Onie" by The Electric Prunes L'AVVENTURA (1960), Italy, written by Michelangelo Antonioni, Elio Bartolini, and Tonino Guerra, directed by Michelangelo Antonioni, cinematography by Aldo Scavarda, featuring Monica Vitti, Gabriele Ferzetti, and Lea Massari.

Malika Browne talks to former art critic Ian Dunlop about the landmark art show for Swinging London at the Tate, in 1964 for which the museum's Duveen Galleries were turned into a claustrophobic labyrinth of new art from America and Europe, putting London firmly on the art map.Further reading:The Shock of the New: Seven Historic Exhibitions of Modern Art by Ian Dunlop, 1972 This is an Ictus Media production, edited by Leo HornakLondon's New Scene: Art and Culture in the 1960s by Professor Lisa Tickner, Yale University Press in 2020.Watching: Pop Goes the Easel by Ken Russell, 1962Blow Up by Michelangelo Antonioni, 1966 Hosted on Acast. See acast.com/privacy for more information.

Welcome back to the Horror. Cult. Trash. Other. Podcast! Next up for our Mix n' March episodes (where we're discussing the parallels between two films with similar themes and plots), we're discussing a double bill of masterpieces starting with Michelangelo Antonioni's art house classic, Blow-Up and Brian De Palma's intense cult film, Blow Out. Alongside our main film discussion, we also discuss what we've been watching recently including Drive-Away Dolls and Monster. Email us at horror.cult.trash.other@gmail.com and check us out on Social Media at the following links www.facebook.com/horrorculttrashother Twitter - @horrorculttrash Instagram - @horror.cult.trash.other Theme song is Stick Around by Gary's old band, One Week Stand. Check them out on Spotify, iTunes and many other digital distributors!

Armando Cattarinich"Backstage. Mimmo Cattarinich e la magia del fotografo di scena"Una mostra antologica dedicata al grande fotografo di scena italiano testimone dell'opera di Maestri assoluti del cinema da Pasolini a Fellini,da Bertolucci ad Almodovar, da Dino Risi a Michelangelo Antonioni.Circa 100 fotografie provenienti dall'immenso archivio dell'AssociazioneCulturale Mimmo Cattarinich di Roma per raccontare il cinema e i suoiprotagonisti dagli anni Sessanta a oggi. Fino al 16 giugno 2024 Museo Villa Bassi RathgebVia Appia Monterosso, 52 - Abano Terme (PD)I volti di grandi attori e registi della storia del cinema internazionale come Federico Fellini, Pier Paolo Pasolini, Bernardo Bertolucci, Anthony Quinn, Marcello Mastroianni, Alberto Sordi, Capucine, Catherine Deneuve, Roberto Benigni, Claudia Cardinale, Maria Callas ma anche protagonisti contemporanei come Giuseppe Tornatore, Pedro Almodovar, Antonio Banderas, Javier Bardem, Isabelle Huppert, Rupert Everett, Rutger Hauer, Carlo Verdone, Monica Bellucci, Natalie Portman e Penelope Cruz sono soltanto alcuni dei protagonisti delle fotografie di Mimmo Cattarinich, al quale il Museo Villa Bassi Rathgeb di Abano Terme dedica fino al 16 giugno 2024 la mostra "Backstage". Mimmo Cattarinich e la magia del fotografo di scena a cura di Dominique Lora. Cinema e fotografia, linguaggi visivi nati quasi simultaneamente, da sempre condividono e scambiano tecniche narrative e ispirazioni estetiche, generando quella complessa rete di rapporti che stimola sperimentazione e creatività, una dicotomia narrativa nata da un dialogo naturale in cui immaginario, ispirazione e sovversione sono atti di reciprocità e di scambio. La fotografia documenta il cinema e ne rivela il gesto celato, l'emozione rubata, ritraendo in immagini istanti di vita dietro le quinte: è un linguaggio complementare capace di mettere a nudo i soggetti, svelandone i misteri e raccontandone la vulnerabilità. Guardare il cinema attraverso l'obiettivo del fotografo di scena è un'esperienza complessa, interdisciplinare e organizzata attorno a tre grandi soggetti che, smascherando la finzione cinematografica, rivelano tutta l'essenza umanistica di questa ricerca: la rappresentazione del reale dietro le quinte, il ritratto dell'attore all'interno e oltre la scena e il rapporto tra cinema e arte.Ad accomunare i soggetti ritratti da Mimmo Cattarinich è la tensione alla diversità: alterazioni corporee, atteggiamenti di sfida o di esibizione, caratteristiche che contribuiscono a renderli veri, trasparenti e vulnerabili. Il fotografo traspone su pellicola sogni ed emozioni dei singoli individui, rivelandone la realtà presente e le aspirazioni.Pubblicato in occasione della mostra, il catalogo, edito da Sagep Editori – Genova (2024, italiano, 96 pagine) presenta le fotografie esposte con i testi critici della curatrice Dominique Lora e dello sceneggiatore Gianfranco Angelucci, e in apertura, un ritratto personale e privato scritto dal figlio Armando Cattarinich.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Listen, we don't get Michelangelo Antonioni. We admit it. Maybe someday we'll watch Blow-Up and kinda like it, but for now we're not there yet. This week we get Identification of a Woman (1982), Antonioni's entry into one of our most hated genres: male film director directs a movie about a male film director's search for a new lover/star/muse. This one is even arguably - and we do! - more self-aware and less misogynistic than others in that genre. It's certainly no less elliptical and enigmatic than previous films of Antonioni we've seen.

Well, this was ill-advised, I now think to myself... and now you've got a big ol' buffet to keep going back to for as many trips as you'd like, and I don't know how many of you were expecting Jell-O as well as sushi after your fried green beans. But, whether you listen to it all in sequence or segments, I hope it's valuable to you! Here's a few things you will hear about during the ride:  Contraptions used to make Pink Floyd songs like "One of These Days" happen and how they were calibrated The definition of scenery gorn and other tropes found in the film The Bear's emotional relationship with the Wall of Sound, which becomes everyone's relationship with it as well, because The Dead could not perform the same way on everyone else's rinky dink P.A. systems after experiencing the clarity they were used to Pink Floyd's year-long scheme to move from Capitol to CBS in America Hendrix blowing off the Dead on the night he promised to jam, and their low key "revenge" Antonioni's opinions on filmmaking in America vs Italy. What it was like to film Z.P. through the eyes of an American member of the crew who actually did admire his work Richard Wright not showing up very much, getting booted Jerry Garcia records his Zabriskie Point soundtrack music in much less time than he wanted to. And has his payment stolen by Mickey Hart's dad. Who also steals car parts and speakers from Bear Floyd does more regrouping, post-breakup with Roger. Roger gets cranky. Clapton gets a cheeseburger. Roger is still cranky today that the band he walked away from and then sued when they didn't die without him will not promote his albums on their social media The Grateful Dead play for the largest outdoor rock audience of all time in upstate New York. And perform long soundcheck concerts for free on top of that Pink Floyd's 1975 SoCal shows being ruined by LAPD for 4 days Phil Lesh drinks Canadian Whisky with mystery capsules in it and Jerry Garcia crawls around on the floor like a caterpillar who can't leave the room on his own Kurt Loder gives a mean-spirited review of a mean-spirited album.  Monthly exclusive Rock History bonus feed here https://www.patreon.com/rockfilmrock Choose your preferred method of supporting the show for no money or maybe some money: PayPal: https://www.paypal.com/paypalme/whatsamatta Shirt designs with defeatist messaging delivered via bright colors and childish graphics: https://www.bonfire.com/store/justtheworstshirtsever/ Subscribe to me on YouTube: https://www.youtube.com/channel/UCV4Up7xGgjioEC07bjwu4mQ Follow on Instagram: https://www.instagram.com/justtheworstever/ Send me an email with show suggestions: Justtheworstever@gmail.com  https://antonioni9.wordpress.com/2021/06/25/michelangelo-and-the-leviathan-the-making-of-zabriskie-point-1992/  https://antonioni9.wordpress.com/2011/10/24/lets-talk-about-zabriskie-point-august-1970/ https://www.rollingstone.com/music/music-news/pink-floyd-the-inside-story-104505/ https://archive.org/details/guitarworldprese0000unse/page/26/mode/2up https://archive.org/details/saucerfulofsecre00scha/page/n7/mode/2up https://www.youtube.com/results?search_query=jim+ladd+innerview+pink+floyd  

TVC 637.3: Legendary record producer, music manager, author, journalist, and documentary filmmaker Simon Napier-Bell talks to Ed and guest co-host Chuck Harter about how Tom Jones came to record the title song for What's New Pussycat (1965) and how Simon convinced Italian director Michelangelo Antonioni to cast The Yardbirds in Blow-Up (1966). You can read Simon's Substack column for free at Substack.com/@simonnapierbell  Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

En una nueva edición de Página 13 de día viernes, dedicada al cine, Iván Valenzuela conversó con Ascanio Cavallo y Antonio Martínez por las películas "Hojas de Otoño", "Dejar el Mundo Atrás", los obituarios de Conchita Velasco y Ryan O´Neal y los 70 años del filme "La dama sin camelias" de Michelangelo Antonioni.

This week we talk about Michelangelo Antonioni's existentialist thriller The Passenger, starring Jack Nicholson and Maria Schneider.​Plus: What George Plimpton found at the top of the Brooklyn Bridge.LINKS:Trailer for The PassengerThe Weather Channel explains "wintry mix"Trailer for Flesh Gordon (1974; NSFW)

Zabriskie Point, un lieu-dit dans la Vallée de la Mort en Californie. Un paysage érodé en forme de vaguelettes, des terres asséchées, le sable, le vent. Cʹest à Zabriskie Point que Michelangelo Antonioni filme son épopée américaine en 1970. Un film qui a pour thème les contestations estudiantines et la libération sexuelle. Il narre la rencontre entre une étudiante idéaliste et un militant radical dans la vallée de la Mort, pendant les troubles étudiants des années 1960 aux États-Unis. Il est produit par Carlo Ponti, et écrit en partie par le dramaturge Sam Shepard. Zabriskie Point est un film explosif à beaucoup de point de vues. Tourné en couleur, dans le désert, avec des comédiens amateurs, sans plan de travail réel, avec en bruit de fond des contestataires venus manifester bruyamment contre ce quʹils considèrent être une atteinte à la morale, le film est un véritable tour de force. Les militant pro-Nixon attaquent la production constamment. Mais Antonioni tient bon. Il sait où il va, ce quʹil veut. Il fait un film sur la colère, sur la violence de lʹAmérique. Cʹest seul quʹil rentre en Italie avec des milliers de mètres de pellicules. Son film est jugé sévèrement par la critique aux Etats-Unis. En Europe, il plaît un peu plus, mais ce nʹest pas un grand succès pour autant. Cependant, les cinéphiles le regardent, intéressés. Zabriskie Point influencera l'esthétique du cinéma américain des années 1970. Et devient culte. Tout comme sa bande originale composée en partie par Pink Floyd. Cʹest parti pour un film qui reflète la rencontre brutale dʹun artiste sensible avec la société de son temps marquée par la violence. REFERENCES Björkman, Michelangelo Antonioni, Cahiers du Cinéma, Le Monde, 2007 Antonioni regarde lʹAmérique, Zabriskie Point, notes de productions du film, Metro Goldwyn Mayer, 1970 Zabriskie Point, Interview des deux jeunes comédiens https://www.youtube.com/watch?v=r_fwZaaPNG8 Zabriskie Point en 6 minutes https://www.youtube.com/watch?v=tZZl21PpWlo

Vid mitten av 1950-talet lanserade den franske filmkritiker Francois Truffaut ett helt nytt begrepp – auteuren. Det var ett ideal som också var en kritik av läget i fransk film. Filmregissören skulle vara något mer än en hantverkare, demokratiskt inkilad i filmteamets kollektiv. Som auteur skulle regissören vara filmens konstnärliga visionär. Filmerna skulle vara omedelbart igenkännbara genom regissörens personliga stil; kameran liknades vid en författarpenna. Truffaut blev senare själv en de nya regissör som bar fram denna självbild. Begreppet blev djupt förknippat med den franska nya vågen och 60-talets stora filmregissörer som Ingmar Bergman, Federico Fellini, Michelangelo Antonioni och Agnès Varda. Hur stor roll spelade auteur-begreppet för filmens mytomspunna 60-tal? Och hur har begreppet åldrats? Kan vi alls tala om auteurer idag, i strömningstjänsternas massproducerande tidevarv? Gäst i studion är Maaret Koskinen, professor i filmvetenskap vid Stockholms universitet, specialiserad bland annat på Ingmar Bergmans filmvärld och rörlig bild i olika genrer. Koskinen har också varit mångårigt verksam som filmkritiker i Dagens Nyheter.

On the first episode of All the Film Things, I talked with film historian/ author/ lecturer Max Alvarez. Max credits developing his passion for film to his parents and seeing François Truffaut's The 400 Blows in theaters as a child. His first job in film started with indexing film reviews for the Variety newspaper. From there, Max takes us through his decades- long career from his work as a film critic, interviewing prominent figures in film such as Wim Wenders and Peter Fonda, and his work today with New Plaza Cinema in NYC. One of my favorite stories Max shares is his first and only encounter with Quentin Tarantino on the night Reservoir Dogs first premiered at the 1992 Sundance Film Festival. We also discussed the significance of the New Hollywood era, international films while especially highlighting the work of Michelangelo Antonioni, the current state of film today, and much more! Go to New Plaza Cinema's website to learn of Max's upcoming virtual lectures! Background music created and used with permission by the Copyright Free Music - Background Music for Videos channel on YouTube.

durée : 01:30:00 - Les Nuits de France Culture - par : Albane Penaranda - Le silence, l'incommunicabilité, l'identité, la filiation, autant de concepts dépeints dans les films de Michelangelo Antonioni, dont l'oeuvre est ici analysée par André S. Labarthe, parmi d'autres invités dans les "Mardis du cinéma", en février 1994, au micro de Jean Daive. En 1994, Jean Daive consacre un numéro des "Mardis du cinéma" au réalisateur italien Michelangelo Antonioni qui réalisa L'Avventura en 1960, L'Éclipse en 1962, ou encore Blow-Up en 1966. L'émission réunit les universitaires René Prédal, Françoise Haffener, ainsi qu'André S. Labarthe, cinéaste et critique et Joëlle Gayet, psychanalyste, qui abordent plusieurs thèmes récurrents dans les films d'Antonioni. Les liens difficiles, la rupture, l'incommunicabilité, mais aussi plus spécifiquement sa façon de filmer le silence, les mouvements d'apparitions et de disparitions, l'enregistrement de ce qui se défait, l'esthétique de la durée, l'identité et la filiation. Cette émission est illustrée par des archives de la voix de Michelangelo Antonioni lors d'une conférence de presse à Cannes en 1982, dans laquelle il évoque les films Identification d'une femme, Blow-Up et Profession : reporter. Par Jean Daive Réalisation : Jean-Claude Loiseau Les mardis du cinéma - Michelangelo Antonioni (1ère diffusion : 15/02/1994) Edition web : Sandrine England, Documentation Sonore de Radio France Archive Ina-Radio France Retrouvez l'ensemble de la Nuit "Les âges d'or du cinéma italien des années 30 aux années 60"

Book Vs. Movie: Blow-UpThe Julio Cortazar Short Story Vs. the Michelangelo Antonio Movie The Margos are feeling very mod today with this particular episode. We talk about Michelangelo Antonini, one of the most revered directors of the 1960s & 1970s, with a Palm d'Or, the Golden Lion, the Golden Bread, and the Golden Leopard among his film accomplishments. 1966's Blow-Up is his biggest English language hit, and it captured the New Wave movement in modern filmmaking. The original story is from Julio Cortazar in a short story titled “Las Babas del Diablo,” written in 1959. The symbolism-heavy story is told with several unreliable narrators and the artist's relationship to their medium. Our protagonist is Roberto, a French-Chilean translator who loves photography and may or may not be connected to reality. He remembers watching a middle-aged woman in a park with a teenage boy. Is she procuring him for an older man? Roberto takes photographs and obsesses over the crime about to happen. The 1966 film (Antonioni's first English-speaking production) follows Thomas (David Hemmings,) a fashion photographer in demand who obsesses over antiques and modernism. The movie also stars Vanessa Redgrave as a woman being photographed by Thomas in a clinch with an older man. She tries to seduce the roll of film from him after following him home. But he keeps the original and discovers, after blowing up the negatives) that he might have uncovered a murder. Thomas travels through underground London (via The Yardbirds) and the pastoral field, seeking the truth. So between the short story and movie--which did the Margos like better? In this ep, the Margos discuss:The bios of Antonioni & CortazarThe mod movement of the 1960s London.The cast of the 1966 film: David Hemmings (Thomas,) Vanessa Redgrave (Jane,) Sarah Miles (Patricia,) John Castle (Bill,) Jane Birkin (the Blonde,) Gillian Hillis (the Brunette,) Peter Bowles (Ron,) Veruschka von Lehndorff (herself,) Jimmy Page (The Yardbirds,) Jeff Beck (The Yardbirds) and Keith Relf vocalist for The YardbirdsClips used:Vanessa Redgrave and David HemmingsBlow-Up (1966 trailer) Thomas directs modelsThomas instructs Jane to move against the beatThe Yardbirds in Blow-UpJane Birkin modelsMusic: Blow-Up soundtrack, Herbert HancockBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5406542/advertisement

Book Vs. Movie: Blow-UpThe Julio Cortazar Short Story Vs. the Michelangelo Antonio Movie The Margos are feeling very mod today with this particular episode. We talk about Michelangelo Antonini, one of the most revered directors of the 1960s & 1970s, with a Palm d'Or, the Golden Lion, the Golden Bread, and the Golden Leopard among his film accomplishments. 1966's Blow-Up is his biggest English language hit, and it captured the New Wave movement in modern filmmaking. The original story is from Julio Cortazar in a short story titled “Las Babas del Diablo,” written in 1959. The symbolism-heavy story is told with several unreliable narrators and the artist's relationship to their medium. Our protagonist is Roberto, a French-Chilean translator who loves photography and may or may not be connected to reality. He remembers watching a middle-aged woman in a park with a teenage boy. Is she procuring him for an older man? Roberto takes photographs and obsesses over the crime about to happen. The 1966 film (Antonioni's first English-speaking production) follows Thomas (David Hemmings,) a fashion photographer in demand who obsesses over antiques and modernism. The movie also stars Vanessa Redgrave as a woman being photographed by Thomas in a clinch with an older man. She tries to seduce the roll of film from him after following him home. But he keeps the original and discovers, after blowing up the negatives) that he might have uncovered a murder. Thomas travels through underground London (via The Yardbirds) and the pastoral field, seeking the truth. So between the short story and movie--which did the Margos like better? In this ep, the Margos discuss:The bios of Antonioni & CortazarThe mod movement of the 1960s London.The cast of the 1966 film: David Hemmings (Thomas,) Vanessa Redgrave (Jane,) Sarah Miles (Patricia,) John Castle (Bill,) Jane Birkin (the Blonde,) Gillian Hillis (the Brunette,) Peter Bowles (Ron,) Veruschka von Lehndorff (herself,) Jimmy Page (The Yardbirds,) Jeff Beck (The Yardbirds) and Keith Relf vocalist for The YardbirdsClips used:Vanessa Redgrave and David HemmingsBlow-Up (1966 trailer) Thomas directs modelsThomas instructs Jane to move against the beatThe Yardbirds in Blow-UpJane Birkin modelsMusic: Blow-Up soundtrack, Herbert HancockBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

On today's episodes of Gaybros Go to the Best Dive Bars in the Best City, we talk about La Notte (1961) by Michelangelo Antonioni with Marcello Mastroianni, Jeanne Moreau and Monica Vitti.

In this episode of What a Picture, Bryan and Hannah wander aimlessly through L'Avventura, the 1960 movie directed by Michelangelo Antonioni that ranks #72 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Music is "Phaser" by Static in Verona.

Jackie and Greg return to Michelangelo Antonioni's “trilogy on modernity and its discontents” with the final film in the cycle, 1962's L'ECLISSE. Topics of discussion include the film's fascination with architecture, its radical ending, Antonioni's mastery of mood and atmosphere, and how it compares to the other two films in the trilogy: L'AVVENTURA and LA NOTTE.#73 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#196 on Sight & Sound's 2022 "The 100 Greatest Films of All Time" list.  bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comJoin our weekly film club: instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

It's the first Friday of the month so we are checking in at the Soderbergh Hotel to talk about some of his less well known films. In this episode we are taking a look at Full Frontal, Bubble and Eros, in which Soderbergh contributed a vignette to accompany one from Wong Kar Wai and one from Michelangelo Antonioni. Over the course of our rich and meandering conversation you will hear us talk about Soderbergh revisiting his absurdist ideas in Full Frontal, consolidating his directorial voice as an cinematic experimentalist, Bubble as a soulful piece of social realism, stepping up to the challenge of working with non-actors, subverting the expectations of a horny short with his work on Eros, and much more. Enjoy! Hosts: Jakub Flasz, Randy Burrows & Nicoló Grasso Intro: Infraction - Cassette Outro: Infraction - Daydream Head over to uncutgemspodcast.com to find all of our archival episodes and more! Follow us on Twitter (@UncutGemsPod), IG (@UncutGemsPod) and TikTok (@UncutGemsPod) Buy us a coffee over at Ko-Fi.com (ko-fi.com/uncutgemspod) Subscribe to our brand new Patreon! (patreon.com/uncutgemspod) The Uncut Gems Podcast is a CLAPPER production

With a director at the height of his game and a star at the early peak of his fame, Blow Out, directed by Brian De Palma and starring John Travolta, was poised to be one of the big hits of 1981. But despite being a rock solid re-imagining of Michelangelo Antonioni's Blow Up and a nail-biting thriller in its own right, the film blew a flat tire at the box office. Join Sebastian and Jennifer as they comb the audio files for clues as to why this clever and suspenseful neo noir failed to blow up commercially.

This week we break out our old cameras and go shooting with David Hemmings. But, what will the shutter see? Join us for Blow Up.    We've launched a Patreon, so fans can now support the show and help keep the lights on at ISTYA towers. There are various benefits on offer, and we can assure you that Joe wearing his rubber dungarees isn't one of them.   To sign up please visit https://www.patreon.com/istya   If you want to contact the show, or simply have a chinwag with the chaps, then follow us on Twitter, join in the conversation on our Reddit page, or you can even contact us on good old email by sending your missives to - show@isawthatyearsago.com

Jason and Ryan go back to Italy circa 1960, where both experience their first Michelangelo Antonioni film in the misleadingly titled L'Avventura. Among other grand, evocative language, this film has been described as imparting a new language upon cinema. Is such talk hyperbole or does the film deliver? Come join the discussion and find out! (P.S. Jason apologizes for the shite audio. It shan't happen again.)

Jackie and Greg get into the moodiest film about an affair ever made, Michelangelo Antonioni's L'AVVENTURA from 1960. Topics of discussion include the film's use of negative space, how Monica Vitti is more than just a pretty face, why movies about sad rich people are always compelling, and how Antonioni is responsible for creating a new film grammar.#21 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#72 on Sight & Sound's 2022 "The 100 Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxGet in touch at hello@sceneandheardpod.com

Secret Movie Club programmer and founder Craig Hammill and SMC blog writer Patrick McElroy take either side on Michelangelo Antonioni's seminal 1960 masterpiece, L'Avventura! Scorsese called Antonioni “The Man Who Set Film Free,” and Patick agrees. Craig thinks the movie is pretentious. Both acknowledge its impact on film language. They talk about the cinematography, the themes, the style, and everything else! Who wins? We'll let you decide!   Check out Patrick at: https://www.facebook.com/patrick.mcelroy.3726 or his IG: @mcelroy.patrick

PUBLIC VERSION. Filmmaker Jeff Lieberman (SATAN'S LITTLE HELPER, SQUIRM, JUST BEFORE DAWN, BLUE SUNSHINE, REMOTE CONTROL) joins Adam, Joe, and Arwen to discuss his long career. From the pros and cons of 35mm vs DCP, vinyl records/analogue recordings vs CDs/digital files, Blu-Ray vs VHS… to how Jeff wasn't even a fan of movies (“Why spend 2 hours of a date sitting in silence and staring at a screen together when you could be talking to each other instead?”) until he saw Michelangelo Antonioni's BLOW-UP (1966) - a transformative cinematic experience that completely changed his direction in life… to how the positive affirmation and encouragement of a teacher made him realize that he was actually a talented writer… to how an anti-drug short film he made in 1972 (THE RINGER) helped secure him as the director for his screenplay SQUIRM in 1976… to why it's a compliment to hear from fans that he “messed up their childhood”… to the real life horror movie set up that inspired Jeff's big film that got away… to how a film's score can be a disservice to creating true suspense… to a lesson in Hollywood accounting… to the writing of his new book DAY OF THE LIVING ME: ADVENTURES OF A SUBVERSIVE CULT FILMMAKER FROM THE GOLDEN AGE (now available!)… this in-depth conversation with a true legend of cinema is as enjoyable as it is educational. Dr. Arwen provides “Hollywood Therapy” for a listener worried about going crazy between gigs and Jeff reveals how dancing with a gorilla on Halloween inspired SATAN'S LITTLE HELPER and the real reason why most fans don't even realize that he wrote the second sequel to a beloved 80's children's movie.

The “Cinephile Cuties” are ready to swing! That's because they're chatting about Michelangelo Antonioni's ‘Blowup.' If you like this show, join our Patreon!Follow Farthouse on Twitter and InstagramFollow Patrick and Casey on TwitterAnd follow Patrick and Casey on Letterboxd

On this week's episode, Sonny talks to George Folsey Jr about his career as an editor. From the blaxploitation classics Black Caesar and Hammer to the great comedies of the 1970s and 1980s like Animal House and The Blues Brothers to assists on classics like Michelangelo Antonioni's The Passenger and cult classics like Karyn Kusama's Jennifer's Body, Folsey has had a hand in a number of the movies you love.  Learn more about your ad choices. Visit podcastchoices.com/adchoices