CRITICISM

Arrowsmith, William. Antonioni: The Poet of Images. Edited with an introduction and notes by Ted Perry, New York: Oxford University Press, 1995.

Essays based on lectures given at the Museum of Modern Art in New York City on the visual structure of Antonioni's major films by a noted classical scholar and translator.

Brunette, Peter. The Films of Michelangelo Antonioni. Cambridge: Cambridge University Press, 1998.

Close visual and textual explications of Antonioni's major films.

Chatman, Seymour. Antonioni, or, the Surface of the World. Berkeley: University of California Press, 1985.

Encompasses all of Antonioni's films in chapter by chapter discussions.

Powers, John. “Antonioni’s Magnificent Impasse.” Film Comment 36, No. 4 (July 2000): 52.

Powers sees Identification of a Woman as a brilliant Antonionian exploration of heterosexual love relationships.

Rifkin, Ned. Antonioni's Visual Language. Ann Arbor: UMI Research Press, 1977.

Analyzes the elements of Antonioni's filmmaking in a detailed survey of his films.

Rohdie, Sam. “Chapter Three.” In his Antonioni, pp.43-56. London: BFI Publishing, 1990.

In this chapter focusing on Cronaca di un amore, Rohdie argues that uncertainty is an fundamental theme in all of Antonioni’s films.

Turner, Jack. “Antonioni’s The Passenger and Identity/Identifying.” Quarterly Review of Film and Video 17, No. 2 (June 2000): 127-35.

Turner offers a Lacanian reading of The Passenger, identifying the characters in the film as representing the symbolic, the imaginary, and the real.

Walker, Beverly. “Michelangelo and the Leviathan: The Making of Zabriskie Point.” Film Comment 28, No. 5 (September 1992): 36-48.

In this essay, Walker, who worked as the publicist for Zabriskie Point, recalls the many difficulties involved in making the film.

Additional coverage of Antonioni's life and career is contained in the following sources published by the Gale Group: Contemporary Authors, Vols. 73-76; Contemporary Authors New Revision Series, Vols. 45 and 77.