Gabriele Basilico and Michelangelo Antonioni shared an interest in urban landscape and each developed a distinct aesthetics inspired by this constant dialogue with architecture and urban spatial forms. Antonioni’s ability to take advantage of different geometrical lines of the city to create a montage inside the shot, or to use urban buildings as optical devices for framing things and people, led him to transform the human body into a mechanical tool able to penetrate the sublime beauty of the modern. Gabriele Basilico, on the other hand, revealed cities as sites of tension generated by the global process of political, economic, and social reorganisation. His dialectical explorations between centre and periphery, new and old, and human and non-human, translate the urban landscape into images of emptiness and absence. This article will compare Basilico’s approach to Milan, as conveyed in his Milano. Ritratti di fabbriche (1980), with Antonioni’s portrait of the same city in La Notte (1961) and demonstrate that while Basilico anthropomorphised Milan, Antonioni made it emerge as a non-human entity, cold and beautiful in its own way.

中文翻译：

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米兰在加布里埃莱·巴西利科和米开朗基罗·安东尼奥尼的尸体

Gabriele Basilico 和 Michelangelo Antonioni 对城市景观有着共同的兴趣，并且在与建筑和城市空间形式的不断对话的启发下，每个人都发展出了独特的美学。安东尼奥尼利用城市的不同几何线条在镜头中创造蒙太奇的能力，或者使用城市建筑作为构图事物和人物的光学装置，使他将人体转变为能够穿透崇高的机械工具现代之美。另一方面，加布里埃莱·巴西利科 (Gabriele Basilico) 揭示了城市是全球政治、经济和社会重组过程所产生的紧张局势的场所。他在中心与边缘、新与旧、人与非人之间的辩证探索，将城市景观转化为空虚和缺席的形象。本文将比较巴西利科对米兰的态度，正如他在《米兰》中所表达的那样。Ritratti di fabbriche（1980 年），以及安东尼奥尼在拉诺特（1961 年）对同一城市的肖像，并证明了在巴西利科将米兰拟人化的同时，安东尼奥尼使其成为一个非人类实体，以自己的方式冷酷而美丽。