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The Time of the CrimePhenomenology, Psychoanalysis, Italian Film$
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Domietta Torlasco

Print publication date: 2008

Print ISBN-13: 9780804758024

Published to Stanford Scholarship Online: June 2013

DOI: 10.11126/stanford/9780804758024.001.0001

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PRINTED FROM STANFORD SCHOLARSHIP ONLINE (www.stanford.universitypressscholarship.com). (c) Copyright Stanford University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in SSO for personal use.date: 21 October 2019

The Scene of the Crime

The Scene of the Crime

Chapter:
(p.15) 1 The Scene of the Crime
Source:
The Time of the Crime
Publisher:
Stanford University Press
DOI:10.11126/stanford/9780804758024.003.0002

This chapter examines the depiction of the crime scene in Michelangelo Antonioni's films Blow-Up and The Passenger. It explains that the subversive use of perspective in these films lead the spectators to see death not as a fact but as a possibility and that the crime scene in both films is organized according to the rules of perspective. This chapter also argues that Antonioni's spatial arrangements coincide with forms of convoluted time, configuration where the present cannot be isolated from the past and the future and where death cannot be relegated to a single temporal dimension.

Keywords:   crime scene, Michelangelo Antonioni, Blow-Up, The Passenger, spatial arrangements, convoluted time, death

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