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By Kronig R.

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164). The landscape covers a fundamental role also in Il deserto rosso (The red desert). Antonioni chose in this feature film, the last of the “tetralogy”, to go back to directing outside large inhabited towns, in particular the industrial outskirts of Ravenna, where “modifications and overlapping of ‘industry’ over its ancient base and over nature were more rapid than elsewhere” (Ferrero 1964, p. 348). The world portrayed by the film director is a broken up, dirty, dying one, in which Giuliana’s twisted, haunted glance – and Antonioni’s too – is irremediably lost.

Shakespeare at times seems to “hear” inside a word or phrase the history of its future echoes (Steiner 1975). This is a case of an interpretative glance, a glance forward to the future. It is what happens when photographers question the way of seeing itself, claiming the need for an interpretative glance, without which there is no project. It is in this sense that the active, transforming glance of the photographer Olivo Barbieri should be considered, who, in a series of night views of the Forum in Rome, has compared the remains of Roman civilisation with the out-of-scale monuments of globalised commercial building, bestowing on both one and the other the phenomenological 6 colours of the fairy tale.

Founded on the exuberant strength of the new media, contemporary globalisation resembles the technical realisation of McLuhan’s “global village”: cancelling out distances, it alters the perception of reality making its borders with the “virtual” become faint.

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