Word: behind
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Dates: during 1960-1969
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Marker is especially careful not to integrate Koumiko and the city whenever the two come in direct contact. Koumiko is isolated when she is walking, behind a train window when she looks at the countryside, or present on the soundtrack but absent from the screen. In one sequence, we see Koumiko walking down a street next to a man whose face is obscured by a mirror he is carrying. Koumiko herself is not reflected in the mirror. She repeatedly looks to her right, then turns her head to see the same view in the mirror. As she does...
...haven't been here for about six months and I wondered whether the Resistance was still alive." 28 Stanhope St. is right behind the Boston Police station. I had gone to the station to find out about the policeman who had arrested the students supporting the strike at Morgan Memorial, Inc. The two policemen who had made the arrests were off-duty members of the tactical police force. The lieutenant called them "night men." Morgan Memorial hired them for $6.00 an hour to "maintain order." They work during the night and "do strikes" during...
Walsrus was sitting behind the wooden desk in the front part of the office. Before the partitions had fallen, the garage had been divided into a front part, a mimeograph part, a phone part, and a storage part in the back. There was a winding stairway that led to the basement, the scene of all important group meetings...
...desk was the only part of the office that was still in the same position. Walrus had his feet propped up on it. There was one partition remaining behind him. On it, pages were scotch-taped from movement newspapers that looked like posters. One was red with white letters: "Some people talk about the weather. Not us." It had the silhouettes of Marx, Engels, and Lenin...
...scope of his experience grows and grows, his vision becomes stronger and clearer as his life changes. Finally he is forced to play a clown in his home town while Dietrich backstage messes with a young actor. The ringmaster steps on stage, but Jannings refuses to come from behind the gauze curtain which partly obscures him. Sternberg cuts to high-angle shots of the rowdy audience, instead of stage-level shots which would show Jannings on the same moral plane, and then as Jannings on the same moral plane, and then as Jannings comes on stage to a terrifying long...