Michelangelo Antonioni / 米开朗基罗·安东尼奥尼 · 1975
The Passenger
Professione: reporter
The exchanged identity dissolves a masterful subjective centre; relations between camera and character perception unsettle the objective/subjective divide.
Film details
- Original title
- Professione: reporter
- Director
- Michelangelo Antonioni / 米开朗基罗·安东尼奥尼
- Year
- 1975
- Region
- Italy / France / Spain
Reading attribution: Atlas editorial synthesis · Sources and locators
Close-reading questions
- 01After Locke exchanges identities with the dead man in the hotel room, how do the road outside, room objects, and passport turn a professional task into an unrecoverable act of seeing?
- 02When does the journey through Africa, Germany, and Spain cease to produce a destination and retain only the character's continuous movement through places?
- 03How does the seven-minute hotel-room take at the end let death appear first as offscreen sound and spatial pressure rather than as an explained investigative result?
Analysis and scene sources
Shots and scenes
Primary texts, scholarship, and locators
Theory coordinate: Cinema 2, ch. 1, p. 9
- 01Cinema 2: The Time-Image
Authoritative source for the standard translation, translators, ISBN, and publication date.
Open the atlas source record →
Viewing gateways and editions
- Verified complete Bilibili carrier: 过客（1974）bilibili.comOpen film page ↗
- Page access
- Accessible when checked
- Version extent
- Recorded as a complete version
- Source type
- User-uploaded page
Edition note: Single-part film · 2:05:57. The page is titled The Passenger (1974) and lists no filmmaker. The identity exchange and final long take are the focus of the related analysis.
Link checked: 2026-08-25