Michelangelo Antonioni’s 1966 film Blow-Up is a masterfully constructed and paced exploration of the enigmas that challenge our interpretations of both the moving and the still image. Photography plays a key role at the very core of the film, providing the metaphorical site for the director’s questioning of the relationship between reality and perceptions. The paper provides a fresh and stimulating study of Antonioni’s masterpiece. It reassembles and re-tells–through onset stills and the original blow-ups–the film’s key narrative and pictorial strands in a focused visual and semiotic investigation that is complemented by an analytical purpose of the artistic and literary reference points that so pervasively enrich the film–namely modernist abstract painting and Balzac and Gadda’s intertextuality.
Corpi e pasticci. Una caso d'intermedialità.
FIMIANI, Filippo
2007
Abstract
Michelangelo Antonioni’s 1966 film Blow-Up is a masterfully constructed and paced exploration of the enigmas that challenge our interpretations of both the moving and the still image. Photography plays a key role at the very core of the film, providing the metaphorical site for the director’s questioning of the relationship between reality and perceptions. The paper provides a fresh and stimulating study of Antonioni’s masterpiece. It reassembles and re-tells–through onset stills and the original blow-ups–the film’s key narrative and pictorial strands in a focused visual and semiotic investigation that is complemented by an analytical purpose of the artistic and literary reference points that so pervasively enrich the film–namely modernist abstract painting and Balzac and Gadda’s intertextuality.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
