Shadows in a Petrifying City

The article is an attempt to analyze Michelangelo Antonioni’s Eclipse from the perspective of the construction of the affect. It aims at showing that modern cinema is no longer concentrated on the emotions of protagonists expressed through acting, but it rather constructs affects in all dimensions of cinematographic work and thus creates the more general vision of the affective .state of the world. The author tries to demonstrate it through the notions of the void, fossilization, gaze frustration, the eclipse of the affect and last but not least the relation Antonioni is establishing between contemporary petrification of emotions and capitalism.