If we apply this notion of the reversibility of the visible/invisible, representational/ nonrepresentational to the closing passage of the film, when Thomas discovers that the corpse has disappeared and later joins the rag week students miming a game of tennis, we can offer a far more optimistic view of Thomas’s ontological predicament than Chatman’s:
The tennis game seems like a commentary on the inevitability of illusion in art. Thomas says nothing, and the expression on his face is open to a variety of interpretations. I see in it concern about his own sanity but also rueful resignation about the limits of art’s power to interpret…And the illusion exists only because the artist allows it to, because he gives it permission, so to speak. Under such circumstances, is it a wonder that the artist becomes so concerned about the possibilities of madness.
*Blow up (1966) David Hemmings, Vanessa Redgrave by Michelangelo Antonioni