@article{oai:kanagawa-u.repo.nii.ac.jp:00014853,
 author = {鳥越, 輝昭},
 issue = {67},
 journal = {人文学研究所報, Bulletin of the Institute for Humanities Resarch},
 month = {Mar},
 note = {I point out some of the characteristics of Rome and Romans represented in Michelangelo Antonioniʼs films. 　Antonioniʼs Rome is notable, all through his career, for its contemporariness and its exclusion of touristic viewpoint. We can also add, as its characteristics, the attention to the part of Rome in construction, sensitiveness to economic advancement, and longing for American culture, right up to Lʼeclisse（1962）. After twenty years since the production of this film, however, in Lʼidentificazione di una donna（1982） these three characteristics disappear and, instead, a city full of danger, distrust, vulgarity and dirtiness is shown. Such change is a reflection of what happened in Rome in 1970s and early 1980s. 　Middle-class women of Rome represented by this renowned director are characterised by their sensitiveness to reality, their uneasiness, and the vestige of Roman Catholic morality. Aristocratic women of Rome do not show such vestige while also being sensitive to reality, and they are either with or without uneasiness. Roman men of the middle class do not possess Roman Catholic morality and are obtuse and selfcentred. Roman common people are represented with warm-heartedness particularly in the beginning of Antonioniʼs career, but later in Lʼidentificazione di una donna（1982） a Roman woman of the working class is regarded as critically as a Roman woman of aristocracy.},
 pages = {23--42},
 title = {アントニオーニの映画のなかのローマとローマ人},
 year = {2022}
}