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In the film
Blow-Up (1966)[i] photographer (David Hemmings) becomes consumed by some enigmatic photographs he has taken in a park – do they show a murder in the background or not? Repeatedly, he enlarges the photographs looking for meanings or clues, in the process deconstructing both the images, and, inadvertently, the context in which he exists.
All the long sections in italics below this introduction, are taken from two central chapters[ii] of a literary/ecological thriller,
A Bruise on the Snow. Though deprived of its characters and plot, in a manner less abstract but perhaps not dissimilar to that of