Elena Del Rio

Antonioni's approach to filmmaking provides a clear example of philosopher Wilhelm Wurzer's notion of *filming*, a term Wurzer uses neither to signify the specific practice of filmmaking, nor in the sense of a 'quantitative proliferation of images' that carry out the calculative and productivist goals of the visual in a technocratic society. [1] *Filming* denotes, among other things, 'an imaginal mode of discerning which releases the imagination toward radical disinterestedness... imagination's fall from the principle of *telos*', and the possibility of representation being 'free of the explicit dominance of subjectivity'. [2] In this discussion I would like to examine a few scenes from Antonioni's _Blowup_ that consistently enact the representational features just mentioned. By radically deconstructing notions of illusion no less than those of reality, Antonioni ultimately demonstrates that the psychoanalytic notion of the imaginary -- adopted by Christian Metz and others, and based on the persistent opposition reality/illusion -- is no less implicated in a metaphysical dynamics of presence than any naive notions of realism.

This essay looks at Fassbinder's Berlin Alexanderplatz to trace the film's transformation of a mechanistic scientific discourse into affective indeterminacy. Through patterns of repetition of a key event, the film considers its protagonist as a complex web of constantly shifting forces – a network of biological, social, political and semiotic flows coalescing in a body that exists in a state of perpetual oscillation between force and mutilation, ecstasy and pain. The role of physics and other materialist discourses in the film is thus not to fixate subjectivity, but rather to provide a passage into its affective transformations and the intense desubjectification that results