Italian Cinema Paper

1256 words - 6 pages

Blow-Up, his second colored film, investigates how man deals with the flux even though he is separated from it. The viewer is first introduced to downtown London. A grayish-black jeep, teeming with shouting young adults, crawls over a cobble stone hill into a gray blue sky and turns the corner. The jeep reappears in a wide street, young adults, painted as mimes, pour from the vehicle and flood the road. A small group passes by the protagonist Thomas, who hands one begging girl a crumpled bill from the back seat of his car. The camera attaches to Thomas, and the viewer stares down at him as he drives through a tunnel.
Unlike L'Eclisse, Thomas is immediately depicted as a moving factor in ...view middle of the document...

Even Thomas' white pants and blue shirt appear muted in the antique shop then when he was in the bright green park. The camera studies the statues' ancient marble faces before it focuses on an old, frail man, who yells at Thomas to leave. Thomas asks for a landscape and moves two busts to reveal a faded, pastoral landscape. The man claims the paintings are all sold and the owner is out. Thomas leaves, but after his incident with the woman in the park, he returns. The viewer sees his reflection from a mirror inside next to the shop's open door. Thomas approaching figure dominates the park landscape, but is marginalized to a background piece by a bust when he stands in front of the antique shop window. The owner is in, and Thomas's attention focuses on her. She wants to escape the antique shop, to travel where there are no reminders of the past. Impulsively, Thomas sees a giant propeller hidden in a corner and buys it. As furniture moves, the camera is blocked and then the viewer see Thomas and the owner move the propeller out and into the blue sky.
Thomas is the ideal man in the world of human utility. He is in control of his surroundings and people and can manipulate the world how he sees fit with is camera. He, however, is unhappy with his achievements. Thomas' attraction to the antique shop is man's desire to remember when man was part of the flux where sacrifices serve a beneficial purpose. The viewer knows Thomas wants to reenter reality when he attempts to buy the landscape, but reality is hositle. It refuse to be one of Thomas's abused playthings. Man attempts to control anything it places its hands on but when reality refuses to be subjugated, man distracts himself with items that once were part of reality, represented by the giant propeller. Human utility takes reality objects and makes them unnecessary and useless because they are out of their context, just like man. The owner of the antique store shows how man separated himself from the flux in the first place. Her wanting to escape reality bitterly traps her in a world where she is reminded when man was happy with reality. When the colors turn gray and muted in the antique store, the viewer sees man is bored and unhappy, contrasting the bright, lively park just outside the door.
Even though reality pushes Thomas, away he still tries to understand it. He runs back and forth from black room to his studio and then back to the black room. Every time he studies the pictures closer he finds a new interesting detail to uncover. He continues to Blow-Up,...

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