Abstract
This research paper explores the intricate connections between dematerialization, the expanded field, and expanded cinema, drawing insights from cybernetics and trans-aesthetics. Its objective is to investigate the thematic and aesthetic concerns embedded within these concepts and their manifestation in Michelangelo Antonioni's trilogy: Blow-Up (1966), Zabriskie Point (1970), and The Passengers (1975). The study examines Antonioni's inquisition of reality, perception, and play-with images within the expanded field and his politics of dematerialization.
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