Blow Up Thomas

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Michelangelo Antonioni made the film, Blow-Up, in 1967. Thomas as the protagonist of the movie is an independent and gifted young fashion photographer in London. One day, he wanders into a park and witnesses a private moment between a woman and a middle-aged man. When he takes the pictures secretly as a voyeur, the woman notices him and desperately demands him to return the film. Her panic and anxiety drives Thomas to examine the rolls of films. Then he blows up some of the picture to poster size in his studio. For a while, Thomas believes that he interrupts a plot and sees the gunman hidden among the trees. When he returns the park to confirm his speculation at night, the corpse is posed perfectly straight on the ground. However, when he returns…show more content…
His camera turns into the only medium for him to observe the world. His images illustrate his subjective impression of the city. In the beginning of the movie, when he drives back from a doss house, where Thomas disguises himself in order to take some pictures for his book, his late arrival causes discontent from his model, Veruschka, who has been waited for the shooting around an hour. As the dominant role of the studio, Thomas does not pay attention to her complains completely. The first clip starts from 8:11 to 8:40, depicting the moment of Thomas taking pictures for Veruschka with intimate interactions and patient instructions. In the first shot, the camera begins with a medium close-up from a slightly high angle. Veruschka frequently changes her poses in accord with a dynamic jazz song on the soundtrack. As Thomas moves to the left side, Antonioni tilts his camera up to right above the characters, observing the subtle tension between Thomas and Veruschka from God’s perspective. Thomas’s phallic camera is in command of Veruschka’s skinny and vulnerable body from a dominant and controlling perspective. On the contrary, Veruschka is identified as the passive object of desire and male gaze. Then, the camera cuts to another slightly low perspective with a medium close-up, in which showing the back of Thomas. He tries to capture the facial expression of his model. In the next two shots, the director employs jump cuts that violating the 180 degrees rule accentuating the intense rhythm in the studio. Thomas patiently instructs the model to perform in order to produce great photos, even though he needs to kiss her. On the other hand, Veruschka engages actively with Thomas and his camera with a contented
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