Note:

¹ Michelangelo Antonioni, 1960 Cannes Film Festival.

2 Chatman, Antonioni; or, the Surface of the World, pp. 51-135. All subsequent refernces to Chatman will refer to this later work, except where stated otherwise.

3 As defined by Chatman in Story and Discourse, pp. 96-145.

4 As we know, behind a revealed image there is another one that is closer to reality, and behind this image there is another, and so forth; at some point there lies the true image of that absolute, mysterious reality which no one will ever attain. Or perhaps at some point every image and every reality dissolves.
My translation.

5 To cite the suggestive title chosen by Chatman in his study of Antonioni's work.

6 "I have never understood islands. With all that sea around them, poor things".
My translation.

7 Man acts on the spur of forces and moral myths that today, on the eve of a lunar landing, should not be the same as those of Homer's time; yet they are.
My translation.

8 See Henri Lefebvre, The Production of Space, pp. 140-147.

9 Clearly the director is mostly interested in the upper class perspective as his protagonists belong to Milan's elite and their settings are fashionable environs and residences; the unplanned housing city scape of urban Italy at a time of utmost freedom for non-governmental ventures and for speculation in the building sector is not a main concern of the film.

10 See Andre Arato's "Esthetic Theory and Cultural Criticism" in The Essential Frankfurt School Reader (New York: The Continuum Publishing Company, 1997, pp. 185-224 and Henri Lefebvre's The Production of Space, 1991, pp. 92-99.

11 I do not know how thy understand each other or effect transactions within the stock exchange with such rapid, hasty gestures.
My translation.

12 See Sandra Cavicchioli, "Spazialità e semiotica: percorsi per una mappa" in Versus 73/74, (Milano: Bompiani, 1996), pp. 6-9.

13 Patrizia Magli's study of the relation between perspective and landscape in architecture and in literature is a useful source. See "Visus amoenus: il volto e il paesaggio" in Versus 73/74, (Milano:Bompiani, 1996), pp. 184-189.

14 A factory is more varied, more lively since behind it one senses the presence of man and his life, his plight and his hopes. I am in favour of progress yet I sense that its violence entails difficulties. However, it is modern life, a «tomorrow» that already knocks at the door.
My translation.

15 See Jean-Paul Sartre's distinction between 'Being-for-itself' and 'Being-in-itself' in Being and Nothingness (New York: Washington Square Press, 1992).