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is 'mistery' a typo, or a bad pun? ________________________________ From: Emanuele Tammaro <[log in to unmask]> To: [log in to unmask] Sent: Monday, 7 May 2012, 16:43 Subject: [FILM-PHILOSOPHY] [CINEMASCOPE.it] Call For Papers - Issue 18 - ANTONIONI AND THE MISTERY OF REALITY > > > > > > > > > > > > > > > >www.cinemascope.it > >CALL FOR PAPERS: > >ANTONIONI AND THE MISTERY OF REALITY > >ISSUE 18 (JULY-DECEMBER 2012) >On the occasion of Michelangelo Antonioni’s centenary celebration, the next issue of Cinemascope will be centred on his early documentary activity and on the influences that this has had for the full work of the director, included the fictional masterpieces. In the Italian cinema of the post-war, Antonioni is sure enough who has involved oneself with the documentary in depth. This activity, even if quantitatively limited, doesn’t concern only the training phase, by the fact that it returns in many steps during his career. It offers important reading keys about his aesthetics and relation with the reality. On this direction Cinemascope suggests starting from some elements, such as the connection between the Neorealism and representation of landscapes, from Gente del Po and the early short films of the 40’s to the experience of Tentato suicidio, projected by Cesare Zavattini. So, in the same way, the meeting with China and India (Chung Kuo. Cina, Khumba Mela) and the return in the places of L’avventura (the short film Ritorno a Lisca Bianca), until the short films of the last period (Noto, Mandorli, Vulcano, Stromboli, Carnevale, Lo sguardo di Michelangelo, etc.). This ability to observe the reality assumes surprising ways in the features production, where Antonioni consolidates his personal gaze around the world. > > >TOPICS > > * 1 – DOCUMENTARY FORM In which ways Antonioni used the documentary to explore and observe the reality? Has the documentary got the most capacity to penetrate the reality? > > > * 2 – BEYOND NEOREALISMIf the neorealism style has been defined as “an ethic of the aesthetics”, in which modalities a director like Antonioni welcomes the neorealistic purposes to open up on the real and how he decides to stand out from these, such as in the early fiction films (Cronaca di un amore, La signora senza camelie, Le amiche)? > > > * 3 – DOCUMENTARY AND FICTION How does the documentary genre (or the knowledge of the documentary director) has left a trace in to the important movies by Antonioni – from features of the ’50s to the famous trilogy (L’avventura, La notte, L’eclisse), as far as the next masterpieces like Blow Up, The Passenger, Zasbriskie Point, etc? What are the aesthetic crossing we can delineate between the early documentaries and the mature work? > > > * 4 – EXPLORING SOCIETYBeside the documentary style, the attention for the reality appears in many other ways, such as in to the disclose of the social means. The critical view of the director picks over the paradoxes of the modern society, showing in which way these could spark off their dissolution. According to which dynamics Antonioni is able to bring out the uncertainties hid under the social comfort? > > > * 5 – TOWARDS MODERNITYFor many people Antonioni is the image of the cinema of modernity. In fact, Pasolini instances Antonioni and his Red Desert like examples of the “cinema of poetry” and of the loss of the subject, that is typical of the modern narration. So, in which ways the modernity of his cinema relate itself with a different mode to observe the reality? > > > * 6 - INSIDE THE IMAGEAntonioni’s work was often characterized by the research of the formal tidiness, in particular in the movies of the maturity. In which way and with what results the carefulness for the image (the construction of the shot, the choosing of the lights and the film format, the attention for the colour) becomes a director’s mean to express the conception about reality? >Information: > * Deadline for proposals: JUNE 15 2012 > * Notice of acceptance of proposals by Cinemascope: JUNE 22, 2012 > * Reception of articles: JULY 27, 2012 > * Abstract: 150 words > * Max length of articles: max 5000 words > * Language: English > * Information and contacts: [log in to unmask] > >www.cinemascope.it -- To manage your subscription or unsubscribe from the Film-Philosophy list, please visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html -- Film-Philosophy Journal: http://www.film-philosophy.com/ Film-Philosophy Conference (London 12 - 14 September 2012): http://www.film-philosophy.com/conference/ -- -- To manage your subscription or unsubscribe from the Film-Philosophy list, please visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html -- Film-Philosophy Journal: http://www.film-philosophy.com/ Film-Philosophy Conference (London 12 - 14 September 2012): http://www.film-philosophy.com/conference/ --