Fall 2010

In this class, we will look at the major works of Michelangelo Antonioni (1912-2007), one of Italy’s foremost filmmakers.

On Wednesdays (2-5), we will screen films in 163 Noyes Laboratory; we will rarely stay all three hours, since few of Antonioni’s are longer than two hours (although they may feel quite a bit longer). On Fridays we will meet in 132 Davenport for a two hour discussion (1-3) of the film we have just seen.

In addition to the required films, we will be reading two scholarly studies of Antonioni (Chatman, Rohdie—out of print, and in our coursepack, available 8/30 at Notes ‘n’ Quotes), and a book of Antonioni’s writings on cinema (Cottino-Jones). (Brunette’s book is optional.) We will discuss the readings as part of our Friday discussions; you should come to class having done the reading, of course, but also prepared to discuss, debate, question, object to, and/or admire the work that others have done on Antonioni.

A warning: Antonioni is doing something different with film than what you may be used to. His movies are narrative (that is, they tell stories), but their real interest lies elsewhere, in the surface of things, in watching people disappear, in pure form…. His films are beautiful and slow: there are no car chases, only one explosion (albeit a very large one), little resolution to the problems in the film, and few if any characters that you can identify with. His films are often about things that don’t happen, and people who are no longer there.

No knowledge of Italian required.

Undergraduates write 2 papers (8-10 pp.); make sure you read and understand the class policies, and take a look at a page of advice.

Graduate students will write a standard seminar paper (15-25 pp.) at the end of the semester; and will compile an annotated bibliography of approximately a dozen (no fewer than 10) works on Antonioni or relevant theoretical works. Normally this is done to prepare for the final paper, and consists of a list of relevant works to the student’s area of inquiry and interest. For each work, you will write approximately a paragraph-long response to and description of the work. (This gives you a detailed reference for what you've read as well as an overview of the state of Antonioni studies, and gives me a sense of how you've engaged with these works, and how you'll be thinking of your final project.) They may be articles, books, interviews and other critical materials (not film reviews). Some of your texts may be general theoretical works on film, psychoanalysis, history, media, and so on, but please keep theory texts down to 3-4 works maximum. This will be due halfway through the semester. Class policies apply equally to graduate students, particularly the one on plagiarism.

Antonioni

Why do you think eroticism is so prevalent today in our literature, our theatrical shows, and elsewhere? It’s a symptom of the emotional sickness of our time. But this preoccupation with the erotic wouldn’t become obsessive if Eros were healthy—that is, if it were kept within human proportions. But Eros is sick.