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Dante and cinema? TheCommediaand cinema? The discussion hardly has begun, but several film artists have already spoken first, and spoken of an abyssal chasm of time. These hazardous notes concern three ʹartistʹs filmsʹ by Stan Brakhage, Michelangelo Antonioni, and Bruce Elder.¹ The first hazard is that these notes cannot be remotely responsible to the immense reserve of philological and interpretative scholarship on Dante. Another is referring to ʹartistʹs filmsʹ (Brakhageʹs coinage), a term without critical currency in cinema studies, where such works are slotted as ʹavant-gardeʹ or ʹexperimentalʹ cinema. But that draws a genre ghetto around films, and