Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Commentary (films not included). Pages: 29. Chapters: Beyond the Clouds (1995 film), Blowup, Chung Kuo, Cina, Eclipse (1962 film), Identification of a Woman, Il Grido, I Vinti, L'Avventura, La Notte, Le Amiche, Lies of Love, N.U. (film), Red Desert (film), Story of a Love Affair, The Lady Without Camelias, The Mystery of Oberwald, The Passenger (1975 film), Zabriskie Point (film). Excerpt: Blowup, or Blow-Up, is a 1966 film directed by Michelangelo Antonioni about a photographer, played by David Hemmings, who believes he may have witnessed a murder and unwittingly taken photographs of the killing. It was Antonioni's first English-language film. The film also stars Vanessa Redgrave, Sarah Miles, John Castle, Jane Birkin, Tsai Chin and Gillian Hills as well as sixties model Veruschka. The screenplay was written by Antonioni and Tonino Guerra, with English dialogue by British playwright Edward Bond. The film was produced by Carlo Ponti, who had contracted Antonioni to make three English-language films for MGM (the others were Zabriskie Point and The Passenger). The plot was inspired by Julio Cortazar's short story, "Las babas del diablo" or "The Devil's Drool" (1959), translated also as Blow-Up, and by the life of Swinging London photographer David Bailey. The film was scored by jazz pianist Herbie Hancock, although the music is diegetic, as Hancock noted: "It's only there when someone turns on the radio or puts on a record." Nominated for several awards at the Cannes Film Festival, Blowup won the Grand Prix. The American release of the film with its explicit content (by contemporary standards) by a major Hollywood studio was in direct defiance of the Production Code. Its subsequent outstanding critical and box office success proved to be one of the final events that led the code to be finally abandoned in 1968 in favor of the MPAA film...

アントニオーニの世界は、言葉にならない孤独と不条理な静寂に満ちています。本書は彼の傑作群を横断し、現代における人間関係の空虚さや愛の不可能性といった深淵なテーマを浮き彫りにします。彼が描くのは物理的風景以上に複雑な「内面的な荒野」であり、その文学的な詩情は読む者の魂を激しく揺さぶります。 特にコルタサルの短編を起点とした「欲望」を巡る考察は圧巻です。原作が持つ知覚の不確かさという命題が、映像で真実の多義性へと昇華される。テキストならではの思索の深みと、映像が補完する圧倒的な感覚。二つのメディアが火花を散らす瞬間にこそ、アントニオーニの真の魅力が宿っているのです。