dir. Michelangelo Antonioni, 1964, Italy
“For Antonioni disappearance is the event. To occur is to disappear…” (p. 140)
“…the emptiness in question is not a property of the thing seen; the emptiness here is in occurrence; it is indivisible from the event of looking. Giuliana looks, and as soon as she looks she isn’t there; the shot’s emptiness is her own absence, her own void.” (p. 140)
“The cutting thus situates the absent field as void (there is no one there) while at the same time equating the absent field, the void, with a human position.” (p. 141)
Nothing Counts: shot and event in Werckmeister Harmonies, Steven Marchant, 2009. New Cinemas: Journal of Contemporary Film Volume 7 Number 2.