The Scene of the Crime
The Scene of the Crime
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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