Blow-Up: Modern Sinema Estetiğinde Gerçeklik İdesi
Blow-Up: The Idea of Reality in Modern Cinema Aesthetics

Summary/Abstract: This study aims to examine the phenomenon of reality in cinema through the layered structure of modern cinema aesthetics based on the photographic image. Blow-Up (1966) makes ground as a work that asks questions about what cinema is, reflects on the apparatus, and examines the illusory nature of the image. Focusing on the nature of perception and the visual dimension of reality within this context, the film is a proper work for discussing the phenomenon of multi-layered reality in terms of both photography and cinema. The fact that the film is based on the concept of reality makes it necessary for the article to be examined through the method of philosophical analysis. Unlike the other types of criticism, the main purpose of the philosophical analysis method is to center the artwork and question its message. Examining Blow-Up has allowed us to access important patterns about the phenomenon of reality. In conclusion, according to the findings of the study; the film, in which the relationship between the modern subject and reality is questioned, qualitatively fits the director’s definition of “neorealist”. It has been established that film contains both the conventional narrative norms identified with the classical narrative style and the codes of modern narrative aesthetics, which are defined by the use of open-ended images and ambiguous plots. It has been determined that the director emphasizes that the nature of reality consists of fiction, rather than attributing a role that has the impression of reality to fiction in that causing the audience to experience the phenomenon of reality as a fictional phenomenon. Analyzing the film through the concept of reality provided an appropriate perspective for a morein depth understanding of the work and a philosophical critique of the aesthetic values of the work.

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