Sixties London represents an alluring myth, a commercialised fantasy, a glamourised concept that conjures up a world of freedom, drugs, fashion, sex, and rock and roll in which young people revelled as a reaction against traditional values. It is a period of revolution and positive changes, which evokes a vibrant, frenetic city where fun and liberation are fundamental. Some underlying aspects of this media construct involve alienation, confusion, disconnection, the elusive nature of communication and existence in a fragmentary world, all of which also resonate with the work of the Italian art cinema director, Michelangelo Antonioni. Blow-Up (1966) reveals what lies behind the mythical London ‘swinging scene’ of the Sixties, at the same time extending its theme beyond London and beyond time, to universal questions about identity.

The rapid cuts and quick shift in images in the film sometimes mirror the characters’ inability to focus on a particular object or action. This is obvious throughout Thomas’ ADHD-like behaviour and his incapability to get fully immersed into any particular activity for the most part of the film. For instance, in the restaurant scene, he shifts his attention away from the photographs, to getting food, then back to a discussion about his fabulous new photograph, followed by a glance through the window and an expression of the wish to leave London. Another key moment that adopts quick editing is Thomas’ photo-shoot featuring Verushka, in a scene described by Danny Powell as “the most iconic of all Sixties cinema”. The dynamic editing, characteristic of the time, shows Verushka in different poses, through still images, imitating the act of photography. This scene is sexualised- through Thomas’ words, their movements, and position towards the end of the shoot. Making fashion and photography sexual is an innovation of the Sixties photographers, David Bailey’s particularly.

The opening of the film provides another sequence of fast cuts, this time between images of mimes revelling on the streets and images of homeless men leaving the shelter. The purpose here is to present different, contrasting sides of London, which indicate that the Sixties period is not only about freedom for everyone: some are still restricted to poor conditions of living and oppression. The less glamorous side of life at that time is omitted from the commercialised dream of Swinging London, which makes the viewers question their perspective of history.

Visually, the group of mimes brings some colour to an otherwise grey cold modern environment. Their make-up and clothes reveal an alternative way of living, shown in contrast to the nuns’ and the royal guard’s costumes. Their dismissal of these symbolic figures represents the rejection of old, traditional values- the attitude of rebelling against authority is characteristic to the Sixties.

Aside from the occasional quick cuts Antonioni employs, the film is generally made up of long sequences, most of unknown significance and amplified in intensity by the long, profound silences. There is not much non-diegetic sound to emphasise moments of importance or convey a certain feeling: the focus is on images, not on sound or words. However, in the end, both ways of communication are shown to be unreliable in determining or defining objective reality. This theme fits into the cultural context of Swinging London: it depicts, again, what lies beyond the glamorised portrayal of those times, namely a fragmentary world.

Thomas, the protagonist, epitomises the figure of the London fashion photographer who wanders aimlessly and has a short attention span and no background or defined identity. Antonioni points out that, like most fashion photographers in London, he belongs to the moment, and no one knows where he comes from or who he is. Admittedly fed up with London, he can’t stay still, moving from one action to another, none of them seeming to impact or interest him greatly; and he does not form any deep connection with any other character. His blasé attitude changes when an eerie event captures his attention – his fascination then makes him totally absorbed in the process of mystery solving through art examination.

Thomas seems to be constantly in search of something he cannot name: he is not satisfied with the world he lives in, and wishes to leave the city: “I’m going off London this week. […] It doesn’t do anything for me […] I’m fed up with those bloody bitches”, he says, echoing the words of the girl from the antiques store who was saying “I’d like to try something different. Get off somewhere. I’m fed up with antiques.”. While she is talking to him about moving away to an exotic place, Thomas does not seem to take her worries into consideration and he does not respond seriously to her- he acts as if he does not understand her. However, by expressing the same longing for something different in the restaurant scene, he seems to establish an indirect connection with the girl, to empathise with someone else for once. The person who listens to him, Ron, laughs and dismisses his train of thought, which further reinforces the disconnection between characters, the loss of communication. Although the characters might have things in common, they don’t really communicate and don’t seem eager to understand others, they’re self-absorbed, but they themselves would like to be listened to and understood.

The relationships between Thomas and women bring forward an important aspect of the film, referring to Antonioni’s views on power relations, gender issues, and toxic masculinity. Thomas the photographer exhibits distant, macho, impudent behaviour towards the women he interacts with and is generally devoid of respect. He has an insolent, dismissive attitude towards the models, he tricks Jane, the mysterious woman from the park and he addresses women as ‘birds’. The term ‘bird’ was commonly attributed to women in the Sixties, which is “a reminder of the attitudes toward women at the time which, despite the new ideas of liberation, are not applied equally”(Powell). However, despite tricking Jane, he seems to have some respect, interest in, and attentiveness towards her, as opposed to the models. This comes from his appreciation of her distinctive qualities: her allure is natural and graceful, she is associated with mystery and nature, she is cut off from the artificiality of the fashion world. Her demeanour and movements appear less performative and calculated. This is indicative of Thomas’ defiance towards and dissatisfaction with the fashion world and its artificiality and his longing for something different. On a larger scale, it is Antonioni’s comment on the lure of the Sixties’ myth – which is not ideal, as it seems to be in the pictures. Thomas’ problematic controlling, objectifying attitude towards the models reflects that.

Thomas seeks to escape from the artificiality of the fashion world by heading towards the park. This is what the Sixties were supposed to be about, moving away from a consumerist to an environmentalist world, which is depicted by moving away from the grey urban space to the green space of the park. This chromatic change marks entering ‘an island of relative peace’ in William Arrowsmith’s view, which sets up a binary opposition between nature and culture, however, as Brunette states, nature in Blow Up is not presented as separate from culture, but as a product of it. For instance, just before heading towards the park, Thomas enters the antique store where he is asked what he is looking for. He replies he is looking for pictures – landscapes in particular. He eventually sees a painting of a landscape which the owner says is sold. Nature is therefore objectified in this scene, just as in the next scene where Thomas takes his camera to photograph landscapes in the park. People cannot escape the artificiality of their world so easily: mod lifestyle in London became so embedded in a glamourised artificial world that a return to the natural would be impossible. It does not take us by surprise then, when the park turns from a place of illusory peace into a violent crime scene, supposedly.

The crime scene is a metaphor for the swinging London scene. Just as we are only aware of Sixties London through a media construct presenting the modern facade, Thomas only finds out about the crime through a photographic representation. Bill the painter’s comment is also closely related to both Thomas’ photograph analysis and to Blow Up– the film: “They don’t mean anything when I do them. Afterwards, I find something to hang on to. Then it sorts itself out and adds up. It’s like finding a clue in a detective story.” Similarly, Antonioni says “My films are documents, not a train of coherent ideas, but ideas which are born of the moment”, and then add up like pieces of puzzle, forming a beautiful, evocative final piece of art.

There are questions which are not or cannot be answered in Blow Up– for instance, regarding the identity of the characters and, most significantly, the nature of reality. There are blank spaces in the plot, which can be associated with the “elusive moment, the space between reality and myth” (Powell) of Sixties London. What is real and what is not still remains concealed, because of several moments in the film which amplify the uncanny ambiguity of the reality-fiction boundary. One such uncanny moment is the disappearance of the body from the crime scene. Thomas wants to step beyond his role and beyond the visual representation that he has caught on camera, just as the spectator should be aware that there is more beyond the surface presented by a media fantasy. He wants to find out the story, and tries to reconstruct it in a narrative form, using the pictures. He is finally engrossed in something: he escapes the state of distraction which is a way of living in Blow Up, not just a temporary bad habit. After seeing the body, he is only left with an enlargement of a picture to confirm what he has seen, since the body is removed and the rest of the pictures are stolen. The enlarged photograph looks like an abstract painting.

Another element which questions reality in the film is the imaginary tennis game from the end, namely, the moment when the camera moves away from the tennis court out into the fields, and we start hearing the diegetic sound of a tennis game, even though we had seen that the game was only mimed. And finally, as Thomas the photographer fades into the background consisting of the vast green space, the viewer is reminded that Blow Up is a film, not an objective reality, and that it is also not trying to convey an objective reality of Swinging London.

Blow Up is a film that can be seen as part of the cultural context of the 1960’s transition and its changes in mentality and way of living, in this sense revealing Antonioni’s take on the attitudes from behind the scenes of that time. It can be seen as a comment on the elusive aspect of language, as a critique on gender dynamics and on the artificiality of our world or as a philosophical investigation on identity and meaning. Through an unconventional editing style and dialogue and through self-reflexivity, Antonioni portrays a world of alienation, distraction, and meaninglessness, which leaves the viewer contemplating artistic truth, media-shaped truth, and the objectivity of reality.