{"title":"在米开朗基罗·安东尼奥尼的《红色沙漠》和托德·海恩斯的《安全》中，空间作为一种(非)交流手段","authors":"Dejan M. Malčić","doi":"10.21618/fil2225406m","DOIUrl":null,"url":null,"abstract":"Two movies from two very different movie eras, Michelangelo Antonioni's Red Desert (Il deserto rosso, made in 1964) and Todd Haynes' Safe (made in 1995), can be linked one with the other, based on several conceptual, thematic and stylistic similarities. This paper will be an attempt to highlight some aspects and characteristics of these major cinematic achievements, to show how much their worldviews and their directors' unique visions are comparable, and if so, for what reasons. The paper specifically examines the way these rather hermetic movies try to communicate with their viewers, by employing very specific means to achieve that goal, primarily open and closed spaces that help diminish the non-communicative nature of these works.","PeriodicalId":197643,"journal":{"name":"Филолог – часопис за језик књижевност и културу","volume":"1 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"SPACE AS A MEANS OF (NON)COMMUNICATION IN MICHELANGELO ANTONIONI’S RED DESERT AND TODD HAYNES’ SAFE\",\"authors\":\"Dejan M. Malčić\",\"doi\":\"10.21618/fil2225406m\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Two movies from two very different movie eras, Michelangelo Antonioni's Red Desert (Il deserto rosso, made in 1964) and Todd Haynes' Safe (made in 1995), can be linked one with the other, based on several conceptual, thematic and stylistic similarities. This paper will be an attempt to highlight some aspects and characteristics of these major cinematic achievements, to show how much their worldviews and their directors' unique visions are comparable, and if so, for what reasons. The paper specifically examines the way these rather hermetic movies try to communicate with their viewers, by employing very specific means to achieve that goal, primarily open and closed spaces that help diminish the non-communicative nature of these works.\",\"PeriodicalId\":197643,\"journal\":{\"name\":\"Филолог – часопис за језик књижевност и културу\",\"volume\":\"1 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-06-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Филолог – часопис за језик књижевност и културу\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.21618/fil2225406m\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Филолог – часопис за језик књижевност и културу","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.21618/fil2225406m","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
SPACE AS A MEANS OF (NON)COMMUNICATION IN MICHELANGELO ANTONIONI’S RED DESERT AND TODD HAYNES’ SAFE
Two movies from two very different movie eras, Michelangelo Antonioni's Red Desert (Il deserto rosso, made in 1964) and Todd Haynes' Safe (made in 1995), can be linked one with the other, based on several conceptual, thematic and stylistic similarities. This paper will be an attempt to highlight some aspects and characteristics of these major cinematic achievements, to show how much their worldviews and their directors' unique visions are comparable, and if so, for what reasons. The paper specifically examines the way these rather hermetic movies try to communicate with their viewers, by employing very specific means to achieve that goal, primarily open and closed spaces that help diminish the non-communicative nature of these works.
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