Cinematic Intertextuality and the Aesthetics of Ambiguity from Antonioni to Aldridge

In order to interpret the work of British photographer Miles Aldridge and gain insight into the semiotic ambiguity of his photographs, this paper relies on the capacity to decipher the photographs’ relationship to other arts such as Italian cinema and in particular, to the work of Italian film direc...

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Main Author: Gerrard Carter
Format: Article
Language:English
Published: Firenze University Press 2018-11-01
Series:Aisthesis
Subjects:
Online Access:https://oajournals.fupress.net/index.php/aisthesis/article/view/968
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spelling doaj-968497008d03419c8b17d9fc2a56e85f2020-11-25T00:06:20ZengFirenze University PressAisthesis2035-84662018-11-01112Cinematic Intertextuality and the Aesthetics of Ambiguity from Antonioni to AldridgeGerrard Carter0University of Melbourne Aix-Marseille UniversitéIn order to interpret the work of British photographer Miles Aldridge and gain insight into the semiotic ambiguity of his photographs, this paper relies on the capacity to decipher the photographs’ relationship to other arts such as Italian cinema and in particular, to the work of Italian film director Michelangelo Antonioni. From the perspective of this present study, the decisive role of semiotics in relation to photography is that it promotes an interactive process between artist and spectator. The methodology employed in this study to demonstrate how previous systems of language inspire a semiotic dialogue and produce multiple interpretations is a combination of Umberto Eco’s concept of open work and French narratological theories of hypertextuality. Through an examination of the Italian cinematic influence in the work of Miles Aldridge, this paper demonstrates how generating interpretations becomes an essential element of a photograph’s aesthetics. https://oajournals.fupress.net/index.php/aisthesis/article/view/968aestheticsambiguityintertextualityopen work
collection DOAJ
language English
format Article
sources DOAJ
author Gerrard Carter
spellingShingle Gerrard Carter
Cinematic Intertextuality and the Aesthetics of Ambiguity from Antonioni to Aldridge
Aisthesis
aesthetics
ambiguity
intertextuality
open work
author_facet Gerrard Carter
author_sort Gerrard Carter
title Cinematic Intertextuality and the Aesthetics of Ambiguity from Antonioni to Aldridge
title_short Cinematic Intertextuality and the Aesthetics of Ambiguity from Antonioni to Aldridge
title_full Cinematic Intertextuality and the Aesthetics of Ambiguity from Antonioni to Aldridge
title_fullStr Cinematic Intertextuality and the Aesthetics of Ambiguity from Antonioni to Aldridge
title_full_unstemmed Cinematic Intertextuality and the Aesthetics of Ambiguity from Antonioni to Aldridge
title_sort cinematic intertextuality and the aesthetics of ambiguity from antonioni to aldridge
publisher Firenze University Press
series Aisthesis
issn 2035-8466
publishDate 2018-11-01
description In order to interpret the work of British photographer Miles Aldridge and gain insight into the semiotic ambiguity of his photographs, this paper relies on the capacity to decipher the photographs’ relationship to other arts such as Italian cinema and in particular, to the work of Italian film director Michelangelo Antonioni. From the perspective of this present study, the decisive role of semiotics in relation to photography is that it promotes an interactive process between artist and spectator. The methodology employed in this study to demonstrate how previous systems of language inspire a semiotic dialogue and produce multiple interpretations is a combination of Umberto Eco’s concept of open work and French narratological theories of hypertextuality. Through an examination of the Italian cinematic influence in the work of Miles Aldridge, this paper demonstrates how generating interpretations becomes an essential element of a photograph’s aesthetics.
topic aesthetics
ambiguity
intertextuality
open work
url https://oajournals.fupress.net/index.php/aisthesis/article/view/968
work_keys_str_mv AT gerrardcarter cinematicintertextualityandtheaestheticsofambiguityfromantonionitoaldridge
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