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Blow-up
Author: Michelangelo Antonioni
Year: 1966 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
Blow-up
Author: Michelangelo AntonioniYear: 1966 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
Such machines are indeed machines of reproduction rather than of production, and they make very different demands on our capacity for aesthetic representation than did the relatively mimetic idolatry of the older machinery of the futurist moment, of some older speed-and-energy sculpture. Here we have less to do with kinetic energy than with all kinds of new reproductive processes; and in the weaker productions of Postmodernism the aesthetic embodiment of such processes often tends to slip back more comfortably into a mere thematic representation of content -- into narratives which are about the processes of reproduction and include movie cameras, video, tape recorders, the whole technology of the production and reproduction of the simulacrum. (The shift from Antonioni modernist Blow-Up to DePalma postmodernist Blowout is here paradigmatic.) When Japanese architects, for example, model a building on the decorative imitation of stacks of cassettes, then the solution is at best thematic and allusive, although often humorous.
Such machines are indeed machines of reproduction rather than of production, and they make very different demands on our capacity for aesthetic representation than did the relatively mimetic idolatry of the older machinery of the futurist moment, of some older speed-and-energy sculpture. Here we have less to do with kinetic energy than with all kinds of new reproductive processes; and in the weaker productions of Postmodernism the aesthetic embodiment of such processes often tends to slip back more comfortably into a mere thematic representation of content -- into narratives which are about the processes of reproduction and include movie cameras, video, tape recorders, the whole technology of the production and reproduction of the simulacrum. (The shift from Antonioni modernist Blow-Up to DePalma postmodernist Blowout is here paradigmatic.) When Japanese architects, for example, model a building on the decorative imitation of stacks of cassettes, then the solution is at best thematic and allusive, although often humorous.
Source type: picture
Source type: picture
Source type: pictureBlow out
Author: Brian De Palma
Year: 1981 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
Blow out
Author: Brian De PalmaYear: 1981 Edit Add
Book: Postmodernism, or, The Cultural Logic of Late Capitalism
Such machines are indeed machines of reproduction rather than of production, and they make very different demands on our capacity for aesthetic representation than did the relatively mimetic idolatry of the older machinery of the futurist moment, of some older speed-and-energy sculpture. Here we have less to do with kinetic energy than with all kinds of new reproductive processes; and in the weaker productions of Postmodernism the aesthetic embodiment of such processes often tends to slip back more comfortably into a mere thematic representation of content -- into narratives which are about the processes of reproduction and include movie cameras, video, tape recorders, the whole technology of the production and reproduction of the simulacrum. (The shift from Antonioni modernist Blow-Up to DePalma postmodernist Blowout is here paradigmatic.) When Japanese architects, for example, model a building on the decorative imitation of stacks of cassettes, then the solution is at best thematic and allusive, although often humorous
Such machines are indeed machines of reproduction rather than of production, and they make very different demands on our capacity for aesthetic representation than did the relatively mimetic idolatry of the older machinery of the futurist moment, of some older speed-and-energy sculpture. Here we have less to do with kinetic energy than with all kinds of new reproductive processes; and in the weaker productions of Postmodernism the aesthetic embodiment of such processes often tends to slip back more comfortably into a mere thematic representation of content -- into narratives which are about the processes of reproduction and include movie cameras, video, tape recorders, the whole technology of the production and reproduction of the simulacrum. (The shift from Antonioni modernist Blow-Up to DePalma postmodernist Blowout is here paradigmatic.) When Japanese architects, for example, model a building on the decorative imitation of stacks of cassettes, then the solution is at best thematic and allusive, although often humorous
Source type: picture
Source type: picture
Source type: picture
Source type: picture
Source type: picture