Michelangelo Antonionis Filme und der Manierismus
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Inhaltsangabe: Gang der Untersuchung: Die Arbeit stellt einen Zusammenhang her zwischen der filmischen Ästhetik Antonioni einerseits und dem von Gustav Renö Hocke entwickelten Manierismus-Begriff andererseits. Sie gliedert sich im wesentlichen in zwei Teile: 1. Vorstellung des Analyse-Begriffs"Manierismus". 2. Analyse des Filmwerkes Antonionis. Die Ästhetik der Filme wird dabei insbesondere unter folgenden Kriterien untersucht. 1. Naturdarstellung. 2. "Gesprengte" Bilder. 3. Traum-Visionen. 4. Abstraktion und Fragmentarisierung. 5. Metaphorik. 6. Labyrinth-Motive. Inhaltsverzeichnis: Inhaltsverzeichnis: 0.Einleitung4 1.Erarbeitung des Analyse-Kriteriums "Manierismus11 1.1Manierismus als überzeitliches Phänomen11 1.2Manierismus als Ausdruck einer Krise14 1.3"Idea"-Lehre und Anaturalismus17 1.4Der Gegensatz Manierismus - Klassik19 1.5Manierismus als Epoche22 2.Analyse: Manieristische Phänomene im Werk Antonionis26 2.1 Die äu ere Wirklichkeit26 2.1.1Das Phänomen -Natur26 2.1.2Naturdarstellung bei Antonioni28 2.1.2.1"Magische" Natur30 2.1.2.2Quasi-natürliche Chiffren34 2.1.2.3Farbgestaltung bei Antonioni37 2.2Sprengkraft des Bildes45 2.2.1"Figura Serpentinata"45 2.2.2"Figura Serpentinata" bei Antonioni47 2.3"Landschaft des Traums"56 2.3.1Traum und Vision56 2.3.2Traum-Visionen bei Antonioni57 2.3.2.1"halluzinierende" Gesichter61 2.4Bruchstücke der Wirklichkeit63 2.4.1Abstraktion und Fragmentarisierung63 2.4.2Abstraktion und Fragmentarisierung bei Antonioni64 2.5"Korrespondenzen des Entlegenen"77 2.5.1Metaphorik77 2.5.2Metaphern im Werk Antonionis80 2.5.2.1Filmische Metaphern80 2.5.2.2Sprachliche Metaphern86 2.689 2.6.1Labyrinth-Motive89 2.6.2Das Motiv "Labyrinth" bei Antonioni91 3.Schlu bemerkung101 4.Anhang105 4.1Quellen105 4.1.1Sekundarliteratur105 4.1.2Lexika107 4.1.3Drehbücher107 4.1.4Dokumentarfilme107 4.2Materialien108 4.2.1Verzeichnis der berücksichtigten Filme108 4.2.2Protokoll zur Schlu sequenz von L'eclisse109
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