Free modern day hero Essays and Papers

Ultimately, a different interpretation arises. In this interpretation, the films begin to pertain to the realist versus idealist dichotomy that is often discussed in relation to the modernist notion of utopianism. This dichotomy is at the core of Antonioni’s films. The theme of utopianism can be found in all three of the films that are being discussed in this essay, but are also found in many of Antonioni’s other films. In , Aldo is searching for utopian ideals but everywhere he travels resembles more of a dystopian reality. Similarly in , utopian idealism is portrayed as eroticism, while a dystopian reality is portrayed as the alienation due to modernized culture. And, in , a utopian sense of belonging to a community is juxtaposed with a dystopian sense of isolation and loneliness. The modernist notion of utopianism can be found in Antonioni’s presentation of a dystopian reality. Or as Kevin Moore writes in regards to alienation in Antonioni’s films:

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Walt Whitman, a kosmos, of Manhattan the son,
Turbulent, fleshy, sensual, eating, drinking and breeding,
No sentimentalist, no stander above men and women or apart from them,
No more modest than immodest.

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Several parallel mechanisms are used: There is the modern-day group of students that recall a much-loved lecture by an eccentric professor (John Hurt)who added the Ninth to his list of overrated classics.

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Zach Melzer is currently enrolled as a PhD student at the Concordia University Mel Hoppenheim School of Cinema in Film and Moving Image Studies. Melzer’s interests include modernity, cultural materialism, and the history of moving image media. His current research focuses on understanding the social, economic, and cultural factors that inform the dynamics of screen technologies found in public spaces.

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Clearly the concept of the Modern is multifaceted and cannot be simplified to a short list of characteristics. Accordingly, anything that is produced in the Modern will also share this complexity. Conclusively, Solarno’s and Lunn’s approaches need to be combined. Using Michelangelo Antonioni’s (1957), (1960) and (1962) as enunciations of the intricacies of the Modern, this essay will explore both Lunn’s four aspects of modernist aesthetics and Salerno’s division of the Modern into Modernism and Modernity.

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The three films discussed in this essay reveal the dynamics surrounding the themes of the modern. The modern is treated not only as a social, technological, or political force but simultaneously also as an artistic and culturally aesthetic discourse. Themes of alienation, isolation, tradition, and technological modernization are represented not only through representing a “reality” of modernization as it is established through the situations where the stories take place, but also through the established conventions of classical narrative as discursively formulated situations that are also being explored, investigated, and made to be displayed to a critically aware audience. In these films we can see how issues of modernity cannot be separated from those of modernism. In being attentive to both aspects of the Modern, Antonioni’s films divulge the complexity of this period, revealing a modernity through the aesthetics of modernism, and a modernism through the realities of the modern.

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