distorting the reality. Returning to the lived .
"When using enlargers [...] may be things that the naked eye probably would not be able to capture [...]. BLOW UP photographer, not a philosopher, you see things more closely. But what happens is that, when enlarged too, the object disintegrates and disappears. so there is a time when we grasp reality, but the moment passes. This is in part the meaning of BLOW UP (Michelangelo Antonioni )
At the end of the film, with that telltale string of mimes playing an imaginary game of tennis and the disappearance of the protagonist (disappearance that occurs when Thomas is aware of the existence of this invisible world around us, when it can save the fractured perceived reality), what is left of "Blow Up" , is the certainty that we live in an illusory world of appearances, shadows such as Plato, behind which lurks and hides a reality that is impossible to (re) learn to trust.
Blow Up That movie cinema pioneer of modernism, capable of suggesting to the absolute limits and take the wild essence of the era in which it was filmed, is part of a curious and interesting chain of events, coincidences and artistic expression.
First link in the chain: Sergio Larraín, Chile's professional photographer, Magnum collaborator and best known for his poetic work Valparaíso and photos that made Pabo Neruda in Isla black. One day, secretly taking a picture of a pair of lovers on the Île Saint-Louis . is later, when he reveals the negative in your home, you have the suspicion that something does not fit into the picture. Cree has been an accidental witness to a crime.
Second link in the chain: same thing, tells, distraught, his friend Julio Cortázar, who is so fascinated by the photograph taken by his colleague Larraín and the history behind it . This fascination with such a sinister event, the story will "Blow-" .
"I think I look, if anything I know, and they all look exudes falsehood, because that's what throws us more out [...] ourselves beforehand if provided the probable falsity, it becomes possible to look, perhaps enough to choose between looking good and what is seen, stripping things so other people's clothes. " (Excerpt from story) Third
link in the chain: Michelangelo Antonioni, who reads the story in a certain moment of his life, he sees the possibility of a great movie (and was recognized as winner in out in Cannes 1967) which seeks to evoke a lost time (as we noted in the caption accompanying "Blow Up" and says "I want a morning Summer " ).
In a park, steeped in a disquieting silence broken only by the wind, the protagonist, Thomas , take pictures of everything around him. Suddenly something catches your attention in a powerful way. A couple moves away from busy roads and decided to leave in search of intimacy. He takes photos. They seem to participate in a private game. She realizes the photographer and runs toward him to demand the reel you are using. She in frustration turns to where the man who accompanied her before. It is not. has disappeared.
Fourth link in the chain: Brian de Palma revels Antonioni film and decides to make his own version of it. "Blow Out" , 1981, also revolves around the accidental discovery of a crime, but this time not through the image, but the sound (the star of the film, played by John Travolta , is dedicated to capture environmental sounds to host great films that works) and the concerns are more political than metaphysical type. Back on
apparently as a result of mistrust towards the visible. In the case of Antonioni film was again stressed in what has been experienced by a photograph; instant in which seems to manifest a menacing silhouette. Photography that is subject to varying degrees of enlargement, granulating the image into something like an abstract painting, transforming it into an object distorted and confused.
"The reality is as we see and live or is subject to multiple interpretations and plausible?. Logically, yes, and that each of us has a perception and a different world view and which could have the people around us is that, in addition to objective and subjective realities coexist in our own inner self, we must not including the overall invisible existence.
Blow Up That movie cinema pioneer of modernism, capable of suggesting to the absolute limits and take the wild essence of the era in which it was filmed, is part of a curious and interesting chain of events, coincidences and artistic expression.
First link in the chain: Sergio Larraín, Chile's professional photographer, Magnum collaborator and best known for his poetic work Valparaíso and photos that made Pabo Neruda in Isla black. One day, secretly taking a picture of a pair of lovers on the Île Saint-Louis . is later, when he reveals the negative in your home, you have the suspicion that something does not fit into the picture. Cree has been an accidental witness to a crime.
Second link in the chain: same thing, tells, distraught, his friend Julio Cortázar, who is so fascinated by the photograph taken by his colleague Larraín and the history behind it . This fascination with such a sinister event, the story will "Blow-" .
"I think I look, if anything I know, and they all look exudes falsehood, because that's what throws us more out [...] ourselves beforehand if provided the probable falsity, it becomes possible to look, perhaps enough to choose between looking good and what is seen, stripping things so other people's clothes. " (Excerpt from story) Third
link in the chain: Michelangelo Antonioni, who reads the story in a certain moment of his life, he sees the possibility of a great movie (and was recognized as winner in out in Cannes 1967) which seeks to evoke a lost time (as we noted in the caption accompanying "Blow Up" and says "I want a morning Summer " ).
In a park, steeped in a disquieting silence broken only by the wind, the protagonist, Thomas , take pictures of everything around him. Suddenly something catches your attention in a powerful way. A couple moves away from busy roads and decided to leave in search of intimacy. He takes photos. They seem to participate in a private game. She realizes the photographer and runs toward him to demand the reel you are using. She in frustration turns to where the man who accompanied her before. It is not. has disappeared.
Fourth link in the chain: Brian de Palma revels Antonioni film and decides to make his own version of it. "Blow Out" , 1981, also revolves around the accidental discovery of a crime, but this time not through the image, but the sound (the star of the film, played by John Travolta , is dedicated to capture environmental sounds to host great films that works) and the concerns are more political than metaphysical type. Back on
apparently as a result of mistrust towards the visible. In the case of Antonioni film was again stressed in what has been experienced by a photograph; instant in which seems to manifest a menacing silhouette. Photography that is subject to varying degrees of enlargement, granulating the image into something like an abstract painting, transforming it into an object distorted and confused.
"The reality is as we see and live or is subject to multiple interpretations and plausible?. Logically, yes, and that each of us has a perception and a different world view and which could have the people around us is that, in addition to objective and subjective realities coexist in our own inner self, we must not including the overall invisible existence.
"You've never seen"
(Quote of the character played by Vanessa Redgrave in "Blow Up" )
(Quote of the character played by Vanessa Redgrave in "Blow Up" )
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