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Set in swinging London in the mid-sixties, the protagonist, played by David Hemmings, becomes morbidly obsessed with a series of blow-ups in which he believes he has photographed a murder. “While enlargement of an image makes the identification of a part of it easier, it also increases the distortion the image suffers” (Bondanella, 2001, 223). Thus an enlargement simultaneously assists and impairs our perception of the object captured on film. “As we move closer and closer to a particular detail, more and more of its connotative context is lost” (Bondanella, 2001, 223). Hemmings’ character continuously searches for the reality represented inside the blow-ups but the enigmatic nature of the film prevents the audience from reaching a conclusive ending...
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