Abstract
Based on Deleuze's film image theory, this paper analyzes Michelangelo Antonioni's film “Red Desert” and analyzes the independent style of frame, short, and montage used by Antonioni in the film “Red Desert”. The image in the frame is regarded as a readable symbol and the meanings are read to enhance the aesthetic style. The appearance of time-image through static shorts and fragmented montage is considered. Deleuze directs ‘any-space-whatever’ with Antonioni's characteristic film image. These elements of his film are defined as the characteristics of modern films that presuppose the emergence of time-image. By studying the narrative method of the film “Red Desert” and the meaning of the film language, renew the interpretation of the existing film and enhance the aesthetic position of the film.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
