Blowup is a 1966 mystery thriller film directed by Michelangelo Antonioni and produced by Carlo Ponti. It was Antonioni's first English-language film, stars David Hemmings as a London fashion photographer who believes he has unwittingly captured a murder on film; the film stars Vanessa Redgrave, Sarah Miles, John Castle, Jane Birkin, Tsai Chin, Peter Bowles, Gillian Hills, as well as 1960s model Veruschka. The film's plot was inspired by Julio Cortázar's short story "Las babas del diablo"; the screenplay was by Antonioni and Tonino Guerra, with English dialogue by British playwright Edward Bond. The cinematographer was Carlo di Palma; the film's non-diegetic music was scored by jazz pianist Herbie Hancock, while rock group the Yardbirds feature. The film is set within the mod subculture of 1960s Swinging London. In the main competition section of the Cannes Film Festival, Blowup won the Grand Prix du Festival International du Film festival's highest honour; the American release of the counterculture-era film with its explicit sexual content was in direct defiance of Hollywood's Production Code.
Its subsequent critical and box-office success influenced the abandonment of the code in 1968 in favour of the MPAA film rating system. Blowup would inspire subsequent films, including Francis Ford Coppola's The Conversation and Brian De Palma's Blow Out. In 2012, Blowup was ranked No. 144 in the Sound critics' poll of the world's greatest films. The narrative covers a day in the life of a glamorous fashion photographer, the character's creation being inspired by the life of an actual "Swinging London" photographer, David Bailey, contemporaries such as Terence Donovan, David Montgomery and John Cowan. After spending the night at a doss house, where he has taken pictures for a book of art photos, Thomas is late for a photo shoot with Veruschka at his studio, which in turn makes him late for a shoot with other models in the morning, he walks off, leaving the models and production staff in the lurch. As he leaves the studio, two teenaged girls who are aspiring models ask to speak with him, but the photographer drives off to look at an antique shop.
Wandering into Maryon Park, he takes photos of two lovers. The woman is furious at being photographed, pursues Thomas, demands his film, tries to snatch his camera, he photographs her as she runs off. Thomas meets his agent Ron for lunch, notices a man following him and looking into his car. Back at his studio, the woman from the park arrives, asking for the film, they have a conversation and flirt. She, in turn, gives it to him. He, makes many enlargements of the black-and-white film of the two lovers, they reveal the woman worriedly looking at a third person lurking in the trees with a pistol. Thomas excitedly calls Ron. Thomas is disturbed by a knock on the door, it is the two girls again, with whom he has a romp in his studio and falls asleep. Awakening, he finds they hope he will photograph them, but he realizes there may be more to the photographs in the park, he tells them to leave, saying, "Tomorrow! Tomorrow!" Further examination of a blurred figure under a bush makes Thomas suspect the man in the park may have been murdered after all, during the time Thomas was arguing with the woman around the bend.
As evening falls, the photographer goes back to the park and finds the body of the man, but he has not brought his camera and is scared off by the sound of a twig breaking, as if being stepped on. Thomas returns to find his studio ransacked. All the negatives and prints are gone except for one grainy blowup of what is the body. After driving into town, he sees the woman and follows her into a club where The Yardbirds, featuring both Jimmy Page and Jeff Beck on guitar and Keith Relf on vocals, are seen performing the song "Stroll On". A buzz in Beck's amplifier angers him so much, he smashes his guitar on stage throws its neck into the crowd. A riot ensues; the photographer runs out of the club before anyone can snatch it from him. He has second thoughts about it, throws it on the pavement, walks away. A passer-by picks up the neck and throws it back down, not realizing it is from Beck's guitar. Thomas never locates the elusive woman. At a drug-drenched party in a house on the Thames near central London, the photographer finds Veruschka, who had told him that she was going to Paris.
Thomas asks Ron to come to the park as a witness, but cannot convince him of what has happened because Ron is stoned. Instead, Thomas wakes up in the house at sunrise, he returns to the park alone, only to find. Befuddled, Thomas watches a mimed tennis match, is drawn into it, picks up the imaginary ball and throws it back to the two players. While he watches the mime, the sound of the ball being played is heard and his image fades away, leaving only the grass as the film ends; the plot of Blowup was inspired by Julio Cortázar's short story "Las babas del diablo", collected in the book End of the Game and Other Stories, in turn based on a story told to Cortázar by photographer Sergio Larraín. Subsequently, the short story was retitled "Blow Up" to connect it with the film; the life of Swinging London photographer David Bailey was an influence. The opening mimes were filmed on the Plaza of The Economist Building in St. James's Street, London, a project by'New Brutalists' Alison and Peter Smithson constr
Oldbury-on-the-Hill is a small village and former civil parish in Gloucestershire, ninety-three miles west of London and less than one-mile north of the village of Didmarton. Oldbury-on-the-Hill has been inhabited since prehistoric times, Nan Tow's Tump, a round barrow beside the A46 road, is a Bronze Age earthwork and archaeological site; the tree-grown barrow is about thirty metres in three metres high. The name refers to Nan Tow, said to have been a local witch, buried upright in the barrow; the parishes of Oldbury-on-the-Hill and Didmarton were together surrounded on all sides by the parish of Hawkesbury and the county boundary with Wiltshire, taken to suggest that they were anciently part of Hawkesbury. The Domesday Book of 1086 calls the village Aldeberie. Before 1066, it was held by Eadric, Sheriff of Wiltshire, in 1086 by Ernulf de Hesdin. A document of 972 gives the name as Ealdanbyri, meaning'old fortification'. A possible derivation from the name of St Arilda has been suggested. In 1342, the tithe of hay and other lesser tithes in Didmarton and Oldbury-on-the-Hill belonging to Badminton church were assessed at £4 13s.
4d. Together with neighbouring Didmarton, the parish was subject to enclosure in 1829. Benjamin Clarke's British Gazetteer says: OLDBURY-ON-THE-HILL, Gloucester, a parish in the upper division of the hundd. of Grumbald's Ash, union of Tetbury: 135 miles from London, 6 from Tetbury, 8 from Malmesbury - Gt. West. Rail. through Bristol to Charfield, thence 3 miles: from Derby, through Birmingham to Charfield, &c. 117 miles, Money orders issued at Tetbury: London letters delivd. 9 a.m.: post closes 4 p.m. The living, a rectory with that of Didmorton, in the diocese of Gloucester and Bristol, is valued at £16: pres. net income, £250: patron, Duke of Beaufort: pres. incumbent, E. J. Everard, 1840: contains 1,870 acres: 84 houses: popn. in 1841, 483: assd. propr. £2,329: poor rates in 1848, £165. 9s. According to The National Gazetteer of Great Britain and Ireland: OLDBURY-ON-THE-HILL, a parish in the upper division of the hundred of Grumbald's Ash, county Gloucester, 5 miles S. W. of Tetbury. Chippenham is its post town.
The village, of small extent, is situated among the Cotswold hills. The tithes have been commuted for a rent-charge of £245; the living is a rectory with the rectory of Didmarton annexed, in the diocese of Gloucester and Bristol, joint value £387. The church, dedicated to St Arild or St Ariva, is a small ancient structure. There is a village school supported by the Duchess of Beaufort. On 25 March 1883, Oldbury-on-the-Hill was incorporated into the civil parish of Didmarton, the two having shared a Rector since 1735. Parish registers for Oldbury-on-the-Hill survive from as early as 1568, all surviving records for the period 1568 to 1978 are deposited at the Gloucester Record Office. Monumental inscriptions from St Arilda's churchyard include the names Alcock, Bayliss, Clark, Dale, Gunter, Hatherle, Holobrow, Pirtt, Thompson, Verrinder, Watts, Webb and Yorke; the earliest record so far found of a church at Oldbury-on-the-Hill occurs in 1273, when there is a mention of a ‘free chapel’ there. In 1291, the Rector of Great Badminton had a portion of 8s.
And 6d. in the chapel of Oldbury. The oldest part of the present medieval parish church of Oldbury is estimated to date from the 14th century; the church shares its ancient dedication to St Arilda with the church of Oldbury-on-Severn, some twenty miles away. St Arilda was a Gloucestershire virgin and martyr who lived at an uncertain time before the Norman conquest of England at Kington, near Thornbury, now in the parish of Oldbury-on-Severn, her feast day is 20 July. St Arilda's at Oldbury-on-the-Hill has been declared redundant, so is no longer used for regular worship. Oldbury-on-the-Hill at genuki.org.uk DIDMARTON, LASBOROUGH, LEIGHTERTON, BOXWELL, OLDBURY-on-the-HILL & SADDLEWOOD page at rootsweb.ancestry.com, with photograph of St Arilda's Church, Oldbury-on-the-Hill Photograph of St Arilda's Church, Oldbury-on-the-Hill at wishful-thinking.org.uk Oldbury-on-the-Hill location map from google.co.uk/maps Oldbury-on-the-Hill at geodaisy.com Gloucestershire census returns 1801-1901 at genuki.org.uk
The Wittelsbacher Palais was located in Munich at the northeast corner of the Brienner Strasse and theTürkenstraße. Today, a building of the BayernLB is located at the site of the palace. A copy of one of two stone lions at the entrance area is the only keepsake of the palace; the red brick building, with a Neo Gothic exterior, was built as a royal prince's palace from 1843 to 1848 by Friedrich von Gärtner and Johann Moninger for Crown Prince Maximilian, the King Maximilian II. From 1848 to 1868 it was the retirement place of King Ludwig I, 1887 to 1918 it served as residence of Ludwig III. At the beginning of August 1914 at the outbreak of the First World War the monarch spoke from the balcony of the Palais to the population. In 1919, it was the meeting place of the Aktionskommittee of the Bavarian Soviet Republic; as of October 1933, it was Headquarters of the Gestapo and from 1934/35 Gestapo prison, in which Sophie Scholl and Hans Scholl were imprisoned on February 18, 1943, until their trial on February 22.
During the air raids on Munich, it was damaged in 1944, but only torn down in 1964. The famous lions, known as "Swapo", sculpted by Johann Halbig stood outside the main entrance of the palace. One lion is now a memorial for journalist Fritz Gerlich, murdered at the Dachau concentration camp, is located at Munich Catholic Academy