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Paper #102060 :: The 1966 Film "Blow Up" - a Critique.
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A critique of the seminal 1966 film "Blowup", crafted by Italian director Michelangelo Antonioni.

Written in 2008; 1,430 words; 2 sources; APA; $ 47.95

Paper Summary:

In this paper, the author gives an account of the film "Blowup" set in 1966 to the backdrop of a cosmetically frenetic and maddeningly indulgent London. The paper relates that the story revolves around still-frame photography, and a man with an unsympathetic character whose internal life is stagnant. The author also relates that, while in one way the film may be regarded as a search for meaning, the film's director ultimately makes the case that a man without beliefs is a man who lives apart from reality.

From the Paper:

"Indeed, in our central protagonist, the audience is presented a pointedly unsympathetic character. Thomas, a fashion photographer who displays a general nihilism which is oddly contrasted by his reflexive impulses toward materialism and sex, is at first a static individual pasted against a mod Britain. A direct relationship between the character and his town is compelling, with the film's unfavorable portrayal of its character giving over to an indictment of the highly stylized but ultimately empty nature of the youth movement in England. Thomas relates disinterestedly to his surroundings, as seen in the fashion shoot at the film's outset. The facetious tone of the scene, in which a highly phallic photo-lens looms over an awkwardly hostile relationship between photographer and model, brings to bear a certain malaise in the protagonist. It is apparent that his lifestyle has failed to engage him, and that a generally numb sense of the surreal pervades his reality. That the primary character is a photographer is of importance to the film's purpose, with the medium of the lens often serving to distance the man from interpersonal relation and a submission to the sobering hollowness of his experiences. When this same medium of separation causes Thomas to photograph a murder without actually witnessing it, this scene in which he conducts his occupational responsibilities yields further layers of implication. The same objective distance which had been formed in the valueless nature of his work would alienate him from a reality which he might have perhaps been capable of intervening with.
As we find, though, in the early sequences of the film, the character is apart from others well beyond the physicality of his camera lens. His detachment is one that manifests in a deeply-ingrained and almost inexplicably rendered materialism. The world which is his personal context, colored by the presence of vapid but beautiful women and an unmistakably slick Rolls Royce convertible, has its appeal in his declared affection for sex and money. But these, we are shown, may provide an individual with a very limited sense of contentment which must constantly be nourished with further material compensation."

Tags: materialism youth lifestyle

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