'forging' this morally confronting event. 18_HF_008 - L'avventura (M. Antonioni -- 1960) A more consistently modern source of filmed reality's uncanny power can be strongly sensed in L'eclisse , not only in its famous conclusion but also in a small moment such as when Vittoria seeks out the source of eerie sounds made by flagpoles in the nocturnal breeze of a deserted EUR boulevard, and slinks within the shadows of an absurd oversized statue. For the protagonists, but even for the viewer watching these images giving an unprecedented role to the power of both primordial and modern time, and natural and human-made space, the world seems '"already there" before reflection begins -- as an inalienable presence', to borrow Merleau-Ponty's description of experience (1989, p. vii). Antonioni's films suggest this in the prominence given to the world in all its quotidian imminence and ubiquitous sublimity, its historically located modernity and primordial intimation, prior to, during, and particularly after the humans have played out their drama. 'By tying perception to the actual shape and status of the external world,' Rohdie writes, Antonioni 'made them both equally subject of his films, and equally ambiguous and tenuous.' (1990, p. 72) This joining makes neither any less impactful; on the contrary, reality as viewed becomes more imposing and ineffable than ever. The presence and primacy of the physical world is emphasised in these films through the unusual prominence of location, space, time and the world of objects. In Theory of Film Kracauer characteristically describes 'the