{"title":"\"从未成为现在的过去\"米开朗基罗·安东尼奥尼的电影和摄影放大","authors":"R. Eugeni","doi":"10.7202/044592AR","DOIUrl":null,"url":null,"abstract":"This article analyses Michelangelo Antonioni’s Blow-Up (1966). The author argues that the film offers a fully-developed theory of photography, one that is consistent with Merleau-Ponty’s phenomenology and which emphasizes the embodiedness and situatedness of ‘Operator’ and ‘Spectator’. However, one key element of this theory resides in the recognition that these two ‘agents’ can never coincide.","PeriodicalId":191586,"journal":{"name":"RSSI. Recherches sémiotiques. Semiotic inquiry","volume":"128 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2010-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"“A Past Which Has Never Been a Present”. Cinema and Photography in Blow-Up by Michelangelo Antonioni\",\"authors\":\"R. Eugeni\",\"doi\":\"10.7202/044592AR\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article analyses Michelangelo Antonioni’s Blow-Up (1966). The author argues that the film offers a fully-developed theory of photography, one that is consistent with Merleau-Ponty’s phenomenology and which emphasizes the embodiedness and situatedness of ‘Operator’ and ‘Spectator’. However, one key element of this theory resides in the recognition that these two ‘agents’ can never coincide.\",\"PeriodicalId\":191586,\"journal\":{\"name\":\"RSSI. Recherches sémiotiques. Semiotic inquiry\",\"volume\":\"128 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2010-10-07\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"RSSI. Recherches sémiotiques. Semiotic inquiry\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7202/044592AR\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"RSSI. Recherches sémiotiques. Semiotic inquiry","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7202/044592AR","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
“A Past Which Has Never Been a Present”. Cinema and Photography in Blow-Up by Michelangelo Antonioni
This article analyses Michelangelo Antonioni’s Blow-Up (1966). The author argues that the film offers a fully-developed theory of photography, one that is consistent with Merleau-Ponty’s phenomenology and which emphasizes the embodiedness and situatedness of ‘Operator’ and ‘Spectator’. However, one key element of this theory resides in the recognition that these two ‘agents’ can never coincide.
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