|David Hemmings in Blow-Up|
Two classic films in which a still
photograph plays a crucial role.
In Michelangelo Antonioni’s Blow-Up, a cocky fashion photographer in 1960s Swinging London has his world turned upside down by his realization that he may have inadvertently photographed a murder. The photos tell one story – but what really happened? In Michael Snow’s Wavelength, four mysterious events happen inside a New York loft as the camera slowly, relentlessly zooms toward an image on the opposite wall. Paradoxically, as the frame narrows in scope and nears its destination, the film takes on an almost spiritual intensity. One of the most influential and written-about works of the 1960s.
Michelangelo Antonioni, Blow-Up (1966), 111 minutes, 35mm, color/sound
Michael Snow, Wavelength (1967), 45 minutes, 16mm, color/sound
Negative and positive: two stills from Michael Snow's Wavelength. The camera relentlessly approaches a mysterious image on the wall.
go to FILM AND SPIRIT part two
FILM AND SPIRIT is a Film Love event, programmed and hosted by Andy Ditzler for Frequent Small Meals. Film Love exists to provide access to great but rarely-screened films, and to promote awareness of the rich history of experimental and avant-garde film. Film Love was voted Best Film Series in Atlanta by the critics of Creative Loafing in 2006.
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