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Journal of Visual Culture
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Seeing Differently: From Antonioni's Blow Up (1966) to Shezad Dawood's Make It Big (2005)

Amelia Jones

Art History and Visual Studies, School of Arts, Histories and Cultures, Mansfield Cooper Building, Room 3.10, University of Manchester, Oxford Road, Manchester M13 9PL, UK, amelia.g.jones{at}manchester.ac.uk

This article makes use of London-based artist Shezad Dawood's 2005 reworking of Antonioni's 1966 Blow Up in his photographic and installation work Make It Big to explore a shifting regime of vision and power in Euro-American culture between the 1960s and the present. Via an analysis and comparison of the terms of vision and knowing in Blow Up and Make It Big, the author argues that Dawood's project articulates a subject that is newly hybrid and networked. Working postcolonial theory against new media theory, the article also puts pressure on the tendency in debates about new media to attribute all shifts in contemporary experience to the advent of the digital, arguing that these debates fail to acknowledge fully the crucial importance of broad social and political shifts since the Second World War, such as the migration of people across borders, transformations in concepts of identity and belonging, and changes in the way intellectual, aesthetic and financial capital circulates.

Key Words: cinema • modernism • new media • photography • postcolonial theory • subjectivity • vision

Journal of Visual Culture, Vol. 7, No. 2, 181-203 (2008)
DOI: 10.1177/1470412908091937
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