photo manipulation by nacrowe
italian director MICHELANGELO ANTONIONI has made several canonical films throughout his career, my favorite being L'AVENTURA (CINO DEL DUCA,1960), but his first english-speaking film BLOW-UP (Bridge Films, 1966) created at the height of the mi-60s BRITISH INVASION is a remarkable film on several levels.
as mentioned before it is a document of an all-too brief moment when there was a liberating sense of artistic, cultural and sexual possibility. at times it is hard for americans to understand british class politics as it is a bit foreign to our culture which is more underpinned by nefarious forces like structural racism and conservative, puritanical, often binary inherited constructions of sexual preference and gender identity. in england markers of identity such as clothing and regional accents gave you away as being of this or that class, which was often a permanent strike against an individual despite their success thereafter. once lower class you are always lower class. in america we may make fun of a unique accent (i'm looking at you LOUISIANA, BROOKYLN and the SAN FERNANDO VALLEY), but we won't let that stop someone from running a company or holding political office. for this reason i think american BLUES, R&B and ROCKABILLY provided british youth a foreign cloak to don and transcend whatever their class prescriptions were in england's rigid, almost caste-like social hierarchy.
this freedom can be viewed in a legendary scene where THE YARDBIRDS oerform. this scene is notable as it was shot during the brief moment that JEFF BECK and JIMMY PAGE where both sharing guitar duties (BECK would amicably depart shortly thereafter).
beyond the era that this film depicts and its influence on modern culture, this film also dives deep into the nature of reality as scene through technology. the film itself showcases a photographer who notices in his darkroom while processing film from a recent photoshoot in a park that he remarkably has evidence of a murder after magnifying, or blowing up, his film several magnitudes.
i think now ideas of HYPERREALITY in the digital age are common place as concepts such as DIGITAL DATA COLLECTION, VIDEO SURVEILLANCE, PAPARAZZI/TABLOID CULTURE and DEEP FAKES have provided means of both documenting and manipulating our belief that what our eyes relay to our brain cannot be relied upon. our reality can be dissected and cross-examined by a seemingly endless myriad of perspectives to the point now that TRUTH seems like a relative ideal, not based in actual fact.
science fiction has long toyed with this idea of authenticity and the limits of empricism (as seen in the the work of ISAAC ASIMOV, ARTHUR C. CLARKE), as have minds dating back to antiquity (SHIP OF THESEUS PARADOX, PLATO's ALLEGORY OF THE CAVE). i think were this film excels is that it asks us at what point do we stop trusting our senses and totally bow to the high reality brought on by technology. i think right now we are still dealing with this question as DIGITAL MARKETING and RESEARCH TECHNOLOGIES of such corporations like FACEBOOK and GOOGLE have already made us subservient to algorithms. its already happening.
this is a classic film that deserves to be watched repeatedly and i highly recommend it. also, it is worth paring this film with the later FRANCIS FORD COPPOLA effort THE CONVERSATION (PARAMOUNT PICTURES, 1974) as it is a similar premise, except this time dives into audio manipulation. in a world accustomed to AUTO-TUNE and the wizardry of PRO TOOLS, this film may also strike a chord, pun intended.