Michelangelo Antonioni’s Blowup, 1966.
The photographer sees value in the people and things that surround him insofar as they are material for his art, which is evident from his interactions with Verushka (iconic symbol of swinging ’60s London seen above). He photographs a couple in the park and inadvertently witnesses a murder. As he obsessively enlarges the pictures, they grow grainier and grainier until they resemble some sort of useless abstract painting which only he can decipher.
The logic of realism leads inevitably to its own demise:
“We know that under the revealed image there is another one which is more faithful to reality, and under this one there is yet another, and again another under this last one, down to the true image of that absolute, mysterious reality that no one will ever see. Or perhaps, not until the decomposition of every image, of every reality. Therefore abstract cinema would have its reason for existing.”
- Antonioni, The Architecture of Vision: Writings & Interviews on Cinema, 1996