This book aims to redefine the relationship between film and revolution. Starting with Hannah Arendt’s thoughts on the American and French Revolution, it argues that, from a theoretical perspective, revolutions can be understood as describing a relationship between time and movement and that ultimately the spectators and not the actors in a revolution decide its outcome. Focusing on the concepts of ‘time,’ ‘movement,’ and ‘spectators,’ this study develops an understanding of film not as a medium of agitation but as a way of thinking that relates to the idea of historicity that opened up with the American and French Revolution, a way of thinking that can expand our very notion of revolution. The book explores this expansion through an analysis of three audiovisual stagings of revolution: Abel Gance’s epic on the French Revolution Napoléon, Warren Beatty’s essay on the Russian Revolution Reds, and the miniseries John Adams about the American Revolution. The author thereby offers a fresh take on the questions of revolution and historicity from the perspective of film studies.

Transcriptions of interview format seminars conducted at the American Film Institute with prominent film directors, actors, and cinematographers.

Widely acclaimed as the consummate filmmaker's filmmaker, few post-war figures in world cinema have been as influential as Michelangelo Antonioni on directors and screenwriters coming of age in the 1960s and 1970s. His 1995 Academy Award for Lifetime Achievement marks the long-overdue, official recognition of a fifty-year career of rare talent and innovation. Here, for the first time in English, Antonioni's writings and interviews on cinema are available in a collection which is an homage to its author and a major contribution to the appreciation of his work. The Architecture of Vision is an indispensable tool for understanding the work of a cinematic giant whose investigation of the "crisis" of individuals and groundbreaking use of "visual minimalism" remains unique in contemporary culture.