Film: LAD girl. More than 230 film color processes have been devised in the course of film history, often in close connection with photography. Giuliana (Monica Vitti): Non sta mai fermo. Timeline of Historical Film Colors by Barbara Flueckiger is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Passing workers who are on strike, Giuliana nervously and impulsively purchases a half-eaten sandwich from one of the workers. Antonioni wrote "I worked a lot in il deserto rosso with the zoom lens to try and get two dimensional effect, to diminish the distance between people and objects, make them seem flattened against each other. Technicolor No. The neurosis I sought to describe in Red Desert is above all a matter of adjusting. There are people who do adapt, and others who can't manage, perhaps because they are too tied to ways of life that are by now out-of-date. Release dates 27/07/2012, 01/10/1995 . An extensive image section illustrates the texts and color systems and continues the aesthetic experience of the various processes and objects in book form. Please use the Stripe interface to pay conveniently online. Ugo and Corrado converse comfortably in the noisy factory. In: Raphaëlle Costa de Beauregard (ed. Follow the links “Access detailed information ›” to access the currently available detail pages for individual processes. Prvi je Antonionijev film u boji, te je cijenjen zbog retoričke uporabe technicolora i širokokutnog objektiva. 347–357, on pp. Download this stock image: Il Deserto rosso - CPPWNE from Alamy's library of millions of high resolution stock photos, illustrations and vectors. Works of contemporary photographers and artists who reflect on technological and culture-theoretical aspects of the material of color underline these relations. Barbara Flueckiger, Experts, scholars, institutions | Sponsors, supporters, patrons of the crowdfunding campaign, April 23 to July 21, 2012, April 23 to July 21, 2012, $11,175 raised. Il deserto rosso ("The Red Desert" in English) is a 1964 film by Michelangelo Antonioni. In: Lewis Jacobs (ed. Michelangelo Antonioni’s 1960s panoramas of contemporary alienation were decade-defining artistic events, and Red Desert, his first color film, is perhaps his most epochal. 207–208. She speaks of the young woman feeling like there was "no ground beneath her, like she was sliding down a slope, sinking, always on the verge of drowning." The following weekend, Giuliana, Ugo, and Corrado are walking beside a polluted estuary when they meet up with another couple, Max and Linda, and together they drive to a small riverside shack at Porto Corsini where they meet Emilia. In addition, the Institute for the Performing Arts and Film, Zurich University of the Arts provided a major contribution to the development of the database. Since the earliest days of cinema, film has been a colorful medium and art form. [6] Mai, mai. Red Desert (Il deserto rossi, 1964) is filmed in an industrial landscape filled with large machines, oil refinerys, garbage heaps, big buildings and so on. 13658. If you check this box, the name as you enter it (including the avatar from your e-mail) and comment will be shown in recent donations. Color Mania contains a general introduction to color in film and photography (technique, materiality, aesthetics) as well as a series of short essays that take a closer look at specific aspects. Fearing he has contracted polio, Giuliana tries to comfort him with a story about a young girl who lives on an island and swims off a beach at an isolated cove. Benvenuti sulla Via della Seta Sciabole scintillanti e tappeti di Bukhara. Il deserto rosso by Michelangelo Antonioni. At that point, Giuliana seems to be completely alone and at her lowest state. Ugo is unable to calm her or understand what she's experiencing. It is the first of four they make together over the space of just a few years. Leone d’Oro a Venezia, è il nono film di Michelangelo Antonioni, il suo primo a colori. Inside the plant, Ugo is talking with a visiting business associate, Corrado Zeller, who is looking to recruit workers for an industrial operation in Patagonia, Argentina. Upload media Wikipedia: Instance of: film: Genre: drama; romance film ... Media in category "Deserto rosso" The following 6 files are in this category, out of 6 total. Credit: Harvard Film Archive, Brandon Film Library Collection, item no. Red Desert (Italian: Il deserto rosso) is a 1964 Italian film directed by Michelangelo Antonioni and starring Monica Vitti with Richard Harris. Since 2016, the team of the research project ERC Advanced Grant FilmColors has been collecting and adding written sources. CineFiles is a free online database of film documentation and ephemera ANTEO PALAZZO DEL CINEMA 25 ottobre 2019 ore 11:30. These pages contain an image gallery, a short description, a bibliography of original papers and secondary sources connected to  extended quotes from these sources, downloads of seminal papers and links. Il deserto rosso (ITA 1964, Michelangelo Antonioni). Antonioni dismissed simple interpretations of the film as a condemnation of industrialism, saying: It's too simplistic to say—as many people have done—that I am condemning the inhuman industrial world which oppresses the individuals and leads them to neurosis. Many further persons and institutions have supported the project, see acknowledgements. The story follows a troubled woman (Vitti) living in an industrial region of Northern Italy following a recent automobile accident. Credit: Harvard Film Archive, Brandon Film Library Collection, item no. This database was created in 2012 and has been developed and curated by Barbara Flueckiger, professor at the Department of Film Studies, University of Zurich to provide comprehensive information about historical film color processes invented since the end of the 19th century including specific still photography color technologies that were their conceptual predecessors. With contributions by Michelle Beutler, Noemi Daugaard, Josephine Diecke, Evelyn Echle, Barbara Flueckiger, Eirik Frisvold Hanssen, Eva Hielscher, Thilo Koenig, Joëlle Kost, Franziska Kunze, Bregt Lameris, David Pfluger, Ulrich Ruedel, Mona Schubert, Simon Spiegel, Olivia Kristina Stutz, Giorgio Trumpy, Martin Weiss, Nadine Wietlisbach (= https://filmcolors.org/).Download BibTex, Barbara Flueckiger, Eva Hielscher, Nadine Wietlisbach (eds.). Despite this it is incredibly beautiful. Ratings Info Contains moderate sex references. Storia e cultura del colore nel cinema. Written by Antonioni and Tonino Guerra, it was Antonioni's first color film. Will the world’s largest green jungle become a red desert ? In Ravenna, Italy, Giuliana is walking with her young son, Valerio, towards the petrochemical plant managed by her husband, Ugo. Read more about the financial background of the project on filmcolors.org. The main character, Giuliana, is played by Monica Vitti as the latest in her string of significant roles in Antonioni films. Giuliana seems to find temporary solace in these mindless distractions. 5 likes. Il Deserto Rosso was the first colour film for iconic director, Michelangelo Antonioni, who later went on to shake up arthouse cinema with his tale of swinging London, Blow Up (featuring perpetual Glasshouse muse, Jane Birkin). Red Desert (Italian: Il deserto rosso) is a 1964 Italian film directed by Michelangelo Antonioni and starring Monica Vitti with Richard Harris. (in Italian) View Quote, Quote as Flueckiger, Barbara (2012 ff. 231–242. 80 financial contributors sponsored the crowdfunding campaign Database of Historical Film Colors with more than USD 11.100 in 2012. Il deserto rosso (ITA 1964, Michelangelo Antonioni). It won the Leone d'Oro at the Venice film festival that year. Upload subtitles. Film: Color Mania. In June 2015, the European Research Council awarded the prestigious Advanced Grant to Barbara Flueckiger for her new research project FilmColors. The Material of Color in Photography and Film, Department of Film Studies, University of Zurich, crowdfunding campaign Database of Historical Film Colors, contact the author immediately and directly, Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License, http://zauberklang.ch/acknowledgements.html, Prof. Dr. David Rodowick, Chair, Harvard University, Department of Visual and Environmental Studies, Prof. Dr. Margrit Tröhler, Department of Film Studies, University of Zurich, Prof. Dr. Jörg Schweinitz, Department of Film Studies, University of Zurich, Prof. Dr. Christine N. Brinckmann, Department of Film Studies, University of Zurich, PD Dr. Franziska Heller, Department of Film Studies, University of Zurich, Dr. Claudy Op den Kamp, Department of Film Studies, University of Zurich, Prof. Anton Rey, Institute for the Performing Arts and Film, Zurich University of the Arts, Dr. Haden Guest, Director, Harvard Film Archive, Liz Coffey, Film Conservator, Harvard Film Archive, Mark Johnson, Loan Officer, Harvard Film Archive, Brittany Gravely, Publicist, Harvard Film Archive, Clayton Scoble, Manager of the Digital Imaging Lab & Photography Studio, Harvard University, Stephen Jennings, Photographer, Harvard University, Fine Arts Library, Dr. Paolo Cherchi Usai, Senior Curator, George Eastman Museum, Motion Picture Department, Jared Case, Head of Cataloging and Access, George Eastman Museum, Motion Picture Department, Nancy Kauffman, Archivist – Stills, Posters and Paper Collections, George Eastman Museum, Motion Picture Department, Deborah Stoiber, Collection Manager, George Eastman Museum, Motion Picture Department, Barbara Puorro Galasso, Photographer, George Eastman House, International Museum of Photography and Film, Daniela Currò, Preservation Officer, George Eastman House, Motion Picture Department, James Layton, Manager, Celeste Bartos Film Preservation Center, Department of Film, The Museum of Modern Art, Mike Pogorzelski, Archive Director, Academy Film Archive, Josef Lindner, Preservation Officer, Academy Film Archive, Cassie Blake, Public Access Coordinator, Academy Film Archive, Melissa Levesque, Nitrate Curator, Academy Film Archive, Prof. Dr. Giovanna Fossati, Head Curator, EYE Film Institute, Amsterdam, and Professor at the University of Amsterdam, Annike Kross, Film Restorer, EYE Film Institute, Amsterdam, Elif Rongen-Kaynakçi, Curator Silent Film, EYE Film Institute, Amsterdam, Catherine Cormon, EYE Film Institute, Amsterdam, Anke Wilkening, Friedrich Wilhelm Murnau Foundation, Wiesbaden, Germany, Marianna De Sanctis, L’Immagine Ritrovata, Bologna, Paola Ferrari, L’Immagine Ritrovata, Bologna, Gert and Ingrid Koshofer, Gert Koshofer Collection, Bergisch Gladbach, Germany, Memoriav, Verein zur Erhaltung des audiovisuellen Kulturgutes der Schweiz, David Landolf, Director, Lichtspiel / Kinemathek Bern, Brigitte Paulowitz, Head Archivist and Restorer, Lichtspiel / Kinemathek Bern, Margaret Bodde, Executive Director, The Film Foundation, Michael Champlin, DeBergerac Productions, Inc. Rochester, NY, Joakim Reuteler, Digital Humanities Lab, University of Basel, Prof. Dr. Rudolf Gschwind, Director, Imaging and Media Lab, University of Basel, Erwin Zbinden, Researcher, University of Basel, George Willeman, Nitrate Film Vault Manager, Library of Congress, Lynanne Schweighofer, Safety Film Vault Manager, Library of Congress, David Pierce, Library of Congress, Assistant Chief, Library of Congress, Kieron Webb, Technical Projects Officer, British Film Institute, Bryony Dixon, Silent Film Curator, British Film Institute, Dr. Jan-Christopher Horak, Director, UCLA Film & Television Archive, Todd Wiener, Motion Picture Archivist, UCLA Film & Television Archive, Dr. Céline Ruivo, Director Film Collections, Cinémathèque Française, Dr. Iris Deniozou, Archivist, Cinémathèque Française, Nicola Mazzanti, Associate Director, Royal Film Archive of Belgium, Laurent Mannoni, Directeur scientifique du patrimoine et du Conservatoire des techniques, Cinémathèque française, François Ede, Researcher and Film Restorer, Andrea Meneghelli, Cineteca di Bologna, Archivio Film, Alessandra Bani, Cineteca di Bologna, Archivio Fotografico, Hege Stensrud Høsøien, Director, National Library of Norway, Dr. Eirik Frisvold Hanssen, Head of Film and Broadcasting Section, National Library of Norway, Tina Anckarmann, Film Archivist, National Library of Norway, Prof. Martin Koerber, Leiter der Abteilung Film, Deutsche Kinemathek, Brian Pritchard, Motion Picture and Film Archive Consultant, Bertrand Lavédrine, Centre de Recherche sur la Conservation des Collections Paris, Mikko Kuutti, Deputy Director, Kansallinen audiovisuaalinen arkisto / National Audiovisual Archive, Finland, Juha Kindberg, Film Collection, Kansallinen audiovisuaalinen arkisto / National Audiovisual Archive, Finland, Dr Kelley Wilder, Senior Research Fellow, De Montfort University, Michael Harvey, Curator of Cinematography, National Media Museum, Bradford, Ruth Kitchin, Collections Assistant, National Media Museum, Bradford, Kathryn Gronsbell, Moving Image Archiving & Preservation, NYU, Gisela Harich-Hamburger, Photo Conservator, Dr Luke McKernan, Lead Curator, Moving Image, The British Library, Dr Michael Pritchard FRPS, FBIPP, Director-General, The Royal Photographic Society, John Falconer, Lead Curator Visual Arts, Curator of Photographs, The British Library, Dr. Anna Batistová, Národní filmový archiv / National Film Archive, Prague, Lenka Šťastná, Národní filmový archiv / National Film Archive, Prague, Toni Booth, Curator, National Science and Media Museum, Bradford, Sylvie Pénichon, Conservator of Photographs, Amon Carter Museum of American Art, Gawain Weaver, Photograph Conservator, Gawain Weaver Art Conservation, San Anselmo, CA, Phil Rutter, Hon Treasurer & Secretary, British Kinematograph, Sound & Television Society, Manuel Joller, coordinator data management, Barbara Fritzsche, support data management, Andreas Bühlmann, support data management, Michelle Beutler, support data management, Sabrina Züger, coordinator data management, Valentina Romero, support data management, Meredith Stadler, support data management, Hannes and Esther Bernhardt, grand supporters, Marianne Flückiger Bösch and Bernhard Bösch, major supporters, Dariush Daftarian and Viola Lutz, supporters, Joanne Bernardi, Associate Professor, University of Rochester. [5], As he would do in later film productions, Antonioni went to great lengths in reaching this goal, such as having trees and grass painted white or grey to fit his take on an urban landscape. Since February 2016 the database has been redeveloped in the framework of the research project Film Colors. Such flattening contributes to the sense of psychological oppression : Guiliana in several shots seems pinned against the wall and the bars between couples seem part of their body.". Design: Meierkolb. A mysterious ship docks directly outside their shack. Il Deserto Rosso. Zajedno s filmovima Avantura, Noć i Pomrčina čini tetralogiju koju, osim stilskih tehnika objedinjava i tematika otuđene protagonistice. Buy Deserto Rosso from Amazon's Movies Store. Antonioni’s Il deserto rosso (Red Desert), with it’s visually stunning depiction of the industrial Italian landscape became a reference point for my final project. Please contact the author immediately and directly should anything infringe a copyright nonetheless. The girl is at home with her surroundings, but after a mysterious sailing ship approaches offshore, all the rocks of the cove seem to come alive and sing to her in one voice. I was drawn to the powerful depiction of social alienation and introspection of Monica … Oct 2, 2016 - Deserto Rosso, Michelangelo Antonioni (1964). Il deserto rosso is a film directed by Michelangelo Antonioni. Credit: Harvard Film Archive, Brandon Film Library Collection, item no. "[7] Credit: Harvard Film Archive, Brandon Film Library Collection, item no. Project Leader and Principal Investigator: Prof. Dr. Barbara Flueckiger, baflueckiger@gmail.com, Dr. Evelyn Echle, Scientific Research Manager evelyn.echle@uzh.ch, BSc Gaudenz Halter, Software Development Color Film Analyses, video annotation und crowdsourcing platform VIAN, in collaboration with Visualization and MultiMedia Lab of Prof. Dr. Renato Pajarola, University of Zurich, (Enrique G. Paredes, PhD; Rafael Ballester-Ripoll, PhD) since 07.2017, BSc Noyan Evirgen, Software Development, in collaboration with Visualization and MultiMedia Lab von Prof. Dr. Renato Pajarola, Universität Zürich (Enrique G. Paredes, PhD; Rafael Ballester-Ripoll, PhD), 03.2017–01.2018, BA Manuel Joller, BA Ursina Früh, BA/MA Valentina Romero, Prof. Dr. Barbara Flueckiger, baflueckiger@gmail.com, MA Noemi Daugaard, PhD Candidate, noemi_daugaard@access.uzh.ch