Antonioni’s masterpiece Blow-Up, currently the basis of an exhibition that is on a one-year tour of Vienna, Winterthur and—till early April—Berlin, has a special status in the history of the feature film due to its penetrating analysis of photography: its mechanisms and its failures. While the sequence of moving images (and therefore the plot of the film in itself) is woven into a convincing narrative in keeping with the genre, the positive images drawn from a negative by the protagonist create highly problematic evidence for an event whose outcome is unclear.
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