{"id":178,"date":"2007-08-01T03:45:00","date_gmt":"2007-08-01T03:45:00","guid":{"rendered":"http:\/\/www.brianrose.com\/blog\/?p=178"},"modified":"2007-08-01T03:45:00","modified_gmt":"2007-08-01T03:45:00","slug":"new-yorkbergman-and-antonioni","status":"publish","type":"post","link":"https:\/\/www.brianrose.com\/blog\/2007\/08\/new-yorkbergman-and-antonioni\/","title":{"rendered":"New York\/Bergman and Antonioni"},"content":{"rendered":"<p><a href=\"http:\/\/www.brianrose.com\/journal\/mannequins.htm\" target=\"_blank\"><img decoding=\"async\" src=\"http:\/\/www.brianrose.com\/journal\/mannequins.jpg\" \/><\/a><br \/><span style=\"font-family:arial;\">The Bowery<\/span><\/p>\n<p><span style=\"font-family:arial;\">Ingmar Bergman and Michelangelo Antonioni both died today, two of the great filmmakers of the modern era. While Bergman, perhaps, looms larger in the public consciousness, it was Antonioni who was most inspiring to me as a photographer. There was <span style=\"font-style: italic;\">Blowup<\/span>, of course, about a photographer (David Hemmings) who shoots fashion, but also pursues his own photographic muse in the London street. The photographer blows up a series of pictures in which he thinks he sees a murder committed. The bigger the prints get the more the grain breaks apart, and reality gives way. <span style=\"font-style: italic;\">Blowup<\/span> was very much of the &#8217;60s, and I saw it&#8211;probably&#8211;about 1972. <\/span><\/p>\n<p><span style=\"font-family:arial;\">Although I was greatly attracted to the counter cultural aspects of <span style=\"font-style: italic;\">Blowup<\/span> and <span style=\"font-style: italic;\">Zabriskie Point<\/span>, I was most influenced by Antonioni&#8217;s visual approach to the landscape, the way the frame held its gaze then moved as figures  perambulated in and out and through. Films like <span style=\"font-style: italic;\">L&#8217;Avventura<\/span>, <span style=\"font-style: italic;\">The Red Desert<\/span>, and <span style=\"font-style: italic;\">The Passenger<\/span> best exemplified this primacy of the camera frame. I still remember sitting in the theater and being stunned by the long final shot in The Passenger, one of the most astonishing achievements in film history. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Bowery Ingmar Bergman and Michelangelo Antonioni both died today, two of the great filmmakers of the modern era. While Bergman, perhaps, looms larger in the public consciousness, it was Antonioni who was most inspiring to me as a photographer. There was Blowup, of course, about a photographer (David Hemmings) who shoots fashion, but also [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21],"tags":[],"class_list":["post-178","post","type-post","status-publish","format-standard","hentry","category-photogs"],"_links":{"self":[{"href":"https:\/\/www.brianrose.com\/blog\/wp-json\/wp\/v2\/posts\/178","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.brianrose.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.brianrose.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.brianrose.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.brianrose.com\/blog\/wp-json\/wp\/v2\/comments?post=178"}],"version-history":[{"count":0,"href":"https:\/\/www.brianrose.com\/blog\/wp-json\/wp\/v2\/posts\/178\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.brianrose.com\/blog\/wp-json\/wp\/v2\/media?parent=178"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.brianrose.com\/blog\/wp-json\/wp\/v2\/categories?post=178"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.brianrose.com\/blog\/wp-json\/wp\/v2\/tags?post=178"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}