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Film History: The Auteur Theory, Term Paper Example

Pages: 6

Words: 1615

Term Paper

Understanding Michelangelo Antonioni’s WorksThrough the Auteur Theory

Introduction

Directors are film artists who are best known for bringing life to written works that viewers could easily relate to. In making films, directors are noted for being able consider different inspirations in bringing written works into real-life art that moves the viewers and makes them think about how the movies relate to their lives. Most directors gain inspiration from the background of their lives, the environment that they are working with and the aspect of memorable impact that they want to leave their audience with in consideration with each artistic craft they hope to complete. Michelangelo Antonioni is one of the most outstanding directors of his time during the early 1900’s. Being one of the best in the field, several of his works have been well celebrated as the epitome of real classical cinema. How does the Auteur theory define the capability of the Antonioni to make high-end movies and relatively connect with his audiences? The discussion that follows shall better explore that aspect in an aim of identifying the truth behind the theory and how its principles relate to the competence of Antonioni in making high-edge quality movies.

Understanding Antonioni’s Personal Being

Born in Emilia Romagna, Michelangelo was given birth as part of a prosperous family. As he was growing up though, he was able to explore the lives of both the rich and poor sectors of the society. He was most often than not viewed by many as a humble person amidst all the wealth he has been born into. Likely, he was defined to have been well adjusted to the poor sectors of the society as when he was growing up, he and his brother found it more enjoying to play with rather ordinary people who did not worry so much about the way they dress or the way they handle themselves in public(Kipen, 2006). Being young then, even though Michelangelo knew there were differences among human individuals living in one society, he did recognize that at some point, there is a common ground for anyone to consider and that is the desire to survive.

Being born to a well-meaning family, Michelangelo had the chance to take a prestigious degree in college as an economist. However, in the long run, he decided to use his skills and his inspiration in furthering the process by which he affects other people’s lives through the power of creating cinematic crafts. Starting off his career in 1942, he began as an assistant director and from there grew into an artistic creator of films himself. All these aspects of historical background of his life have made Antonioni a strong caliber in the field of movie production (Haberski, 2001). His skills matched up with his life’s wonderful journey creates a more vindictive movie maker in himself as he is able to bring out the meaning in every movie as relatively connected to the realities of life and the relationships of humans that are involved in it. Among his most celebrated works that specifically captured the attention of the public include that of L’Avventura (1960), Red Dessert (1964), and La Notte (1961). Through examining the makeup of these films, the trademark in directing that Antonioni posses shall be better defined within the discussion that follows.

Introducing the Auteur theory in Cinematography and Directing

The auteur theory is defined as the philosophy behind the ideal consideration of the fact that directors create movies that reflect their own being. This is the reason why many directors have their own trademarks when it comes to cinematography. The three aspects that the auteur theory is highly concerned about include technique, personal style, and interior meaning. Most often than not, directors, even though their movies are grounded on different themes and settings, they have a base source of inspiration which is inculcated in every film they create (Haberski, 2001). When it comes to Antonioni’s approach to film making, it could be analyzed that he does prefer to create extensive movie plots that are highly able to depict the current status of the economy and how that particular status affect the different aspects of human living especially including the ideal forms of relationships that humans form among each other. With Antonioni’s careful observance of the society and the skills he posses when it comes to analyzing the economic standing of the nation makes his movies more realistic and relatively connected to the being of his target viewers (Kipen. 2006). To have a more in depth understanding of this matter, the following section shall make a definite presentation on how the three aspects of auteur theory relate to the creations of Antonioni.

Examining his Works

As mentioned earlier, three of Antonioni’s work shall be examined in this presentation and one of them is that of the L’Avventura released in the year 1960 in Italy. This film presents the portrayal of a couple and the woman’s best friend’s journey together. Starting in a party setting, the elite status of the characters has been better presented even during the beginning of the film. Placing the three characters in an expensive boat ride towards a private island, Antonioni hopes to present his characters to be in the midst of a high standard of living. This allows him to make conflicts specifically relative to the relationship of the characters towards each other and nothing more than that. At this point, it could be analyzed that his approach is solely connected to his desire of making a demanding prediction on showing how human individuals face their differences and the adversities of their relationships in negative approaches therefore causing more problems and even deeper complexities into the situation they are already in.

Meanwhile, the movie La Notte, which was released in Italy and US between the years 1961 and 1962, specifically pointed out on how a couple, amidst all their riches have had issues in their relationship and decided to deal with the matter through the negative aspect of cheating. In the process of making his characters know to the audience, it was obvious how the life of the couple was as evidently developed as expected due to the fact that they both shared the fortune that they could both enjoy. This however was not able to give them the satisfaction that they need. Later on, after incurring the supposed negative approach to the problem, they settle down together again while mesmerizing the past memories of their marriage.

In the movie Red Dessert released in Rizolli during the year 1964, it could be considered that Antonioni tried to redeem himself and attack the plot in a different manner. Instead of presenting the primary character as a rich woman like his other movies, he utilizes the real essence of common living in this film. Herein, he tried to reflect how the ended years of the Second World War affected the economy of the majority of the members of the society. In the movie, he tried to reestablish his trademark through using the contrast of lighting and the colors that are represented by each element he used to represent the emotions of his characters. Unlike his other two movies mentioned earlier, he takes on a new approach with this film. He began embracing new aspects of cinematography including the inculcation of unconventional elements such as trees being presented in black and white to further impose the in depth distraught emotions of his character. At this point, Antonioni does not only want his audience to relate to the story plot through the acting and placing of the actors. He specifically desired to utilize visual techniques to make sure that the audience would be able to easily relate to the emotions manifested by his characters even when there is an absence of script in some parts of the movie. Film critics particularly observed how different the approach of Antonioni in this movie was and specifically provided good reviews on how he has made a new mark in the classical era of movie production.

Overall Reaction

The technique of Antonioni on the first two films was obviously relative to the desire of presenting the characters’ status in life which is at some point not that easy to relate to for some common viewers. Take note that this perhaps could have been sourced out from the fact that he has been born to a well-meaning family and that such occasions he used in his films were the ones he was most familiar with. Practically relating the situation to himself has made these films more connected to the people in his own circle. The third movie on the Read Dessert was a specific presentation of growth and learning on the part of Antonioni as he began to embrace new approaches of presenting his characters and their problems. Dealing with social issues and not the relationships of the characters alone made the third movie more relatively connected to the audience. His personal style has developed well as he tried to inculcate the creation of background adjustments and specific elemental customization so as to fit the characters’ situation; this approach did immediately create a more definite and clear interior meaning for the film as recognized by the audiences. Overall, from the point of being a stagnant director solely depending on his style of presenting the status of the characters, Antonioni grew into a well-prized and highly-skilled director who was not afraid of using actual social elements that could provide more meaningful conflict to movies which viewers could immediately relate to.

References

Kipen, David (2006). The Schreiber Theory: A Radical Rewrite of American Film History. Melville House.

Haberski, Raymond J. Jr. It’s Only A Movie!: Film and Critics in American Culture, University Press of Kentucky, 2001

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