Where Is Claudia? Erotic and Nomadic Identity of Michelangelo Antonioni’s Heroine From “The Adventure”
Abstract
The article presents an analysis of The Adventure (L’Avventura, 1960), with particular attention paid to the creation of the character of the heroine. It is suggested that it is in this film, that Antonioni for the first time formulates the concept of love, based on the need of overcoming the complex of romantic love, and the pursuit of such erotic relations, that would correspond to social changes taking place in the contemporary life. The idea of “love as adventure” implies deep changes in erotic identity, which changes can be followed through the analysis of historical and dramaturgical context of the creation of the character. Claudia is both an observer, remaining on the outside or on the border of the represented reality, and a participant of the episodes comprising her nomadic adventure in love.
Keywords:
Michelangelo Antonioni, nomadic subject, heroine, sexualityReferences
Nie dotyczy / Not applicable
Google Scholar
Authors
Paulina Kwiatkowskakwartalnik.filmowy@ispan.pl
University of Warsaw Poland
Asystent w Zakładzie Filmu i Audiowizualności w Instytucie Kultury Polskiej UW; redaktor naczelna portalu literacko-filozoficznego „Orgia Myśli”. Zajmuje się teorią obrazu filmowego oraz antropologią ciała.
Statistics
Abstract views: 11PDF downloads: 6
License
Copyright (c) 2008 Paulina Kwiatkowska
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.
In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
Most read articles by the same author(s)
- Paulina Kwiatkowska, Endless Corridors. The Paradoxes of Architecture in „Last Year in Marienbad” by Alain Resnais , Kwartalnik Filmowy: No. 109 (2020): Architectural Space in Film
- Paulina Kwiatkowska, The Structures of Memory: The Images of Space-Time in Andrzej Munk’s Film “Passenger” , Kwartalnik Filmowy: No. Special Issue (2013): Polish Film Scholars on Polish Cinema
- Paulina Kwiatkowska, The Left Bank of the New Wave or the Left Bank Group? , Kwartalnik Filmowy: No. 89-90 (2015): Redefinitions of the Classics
- Paulina Kwiatkowska, Film Images of Androgyny – Androgyny of Film Image , Kwartalnik Filmowy: No. 91 (2015): Film Between Pop Music and Pop Culture
- Paulina Kwiatkowska, Reality and Film (Some Remarks on Affirmation and Doubt) , Kwartalnik Filmowy: No. 75-76 (2011): Faces of Reality
- Paulina Kwiatkowska, Somatographic Rhythms – Lucyna Winnicka in Films of Jerzy Kawalerowicz , Kwartalnik Filmowy: No. 83-84 (2013): Body in Film
- Paulina Kwiatkowska, Crystallization of Emotions in Film Image: Kazimierz Kutz’s “Nobody’s Calling” (“Nikt Nie Woła”) , Kwartalnik Filmowy: No. 64 (2008): Film Image, Image in Film (part I)
- Paulina Kwiatkowska, The Structures od Memory: Pictures of Space-Time in Andrzej Munk’s Film “The Passenger” , Kwartalnik Filmowy: No. 43 (2003): Polish Cinema Then and Now
- Paulina Kwiatkowska, Abyss, Torment, Destiny , Kwartalnik Filmowy: No. 45 (2004): Sacrum in Film
