{"version":"1.0","provider_name":"Antinomie","provider_url":"https:\/\/antinomie.it","author_name":"Federico Ferrari","author_url":"https:\/\/antinomie.it\/index.php\/author\/federico-ferrari\/","title":"Adieu les amis. Godard e Bergman, 1966 - Federico Ferrari","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"RTLb5GIkOX\"><a href=\"https:\/\/antinomie.it\/index.php\/2021\/09\/02\/adieu-les-amis-godard-e-bergman-1966\/\">Adieu les amis. Godard e Bergman, 1966<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/antinomie.it\/index.php\/2021\/09\/02\/adieu-les-amis-godard-e-bergman-1966\/embed\/#?secret=RTLb5GIkOX\" width=\"600\" height=\"338\" title=\"&#8220;Adieu les amis. Godard e Bergman, 1966&#8221; &#8212; Antinomie\" data-secret=\"RTLb5GIkOX\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/antinomie.it\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/antinomie.it\/wp-content\/uploads\/2021\/09\/cover-bergman-ok.jpeg","thumbnail_width":1280,"thumbnail_height":713,"description":"Nel 1966 escono due film. Il primo \u00e8 \"Made in U.S.A.\" di Jean-Luc Godard; il secondo \"Persona\" di Ingmar Bergman. Recentemente, ho avuto la fortuna di rivedere, su grande schermo, il film di Godard. Ne ho tratto un\u2019impressione di povert\u00e0 assoluta, tanto da un punto formale, quanto da quello \u2013 mi si passi l\u2019espressione \u2013 del contenuto."}