Word: camera
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Dates: during 1990-1999
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...event. The network sets up the electric chair in an arena dubbed the Megadome, launches a huge publicity campaign and goes about converting this most grisly of affairs into prime-time entertainment. "The doctor wants to know how close you want to be," someone asks Jessica as the camera shots are set up for the extravaganza. "Dennis' ears might start to smoke." She thinks only a moment: "Tell him to keep it wide...
...perspective on my own life that gives me more flexibility in shaping some sort of final film...With my own life the limitations are only imposed by myself." He adds, "It also takes care of the huge problem I have of invading other poeple's lives with the movie camera....It's kind of contained: you work it out with your own family, your own friends....It sometimes seems it's the only place where cameras haven't been--my own life." With his unique claim to the material, McElwee shapes the story, editing to convey the emotions he wants...
...accounting of reality in some way." Although he doesn't think there is "as much experimentation in nonfiction films as there should be," McElwee believes that this "objective" concept of the documentary is changing. "People are branching out while still relying upon an experience in reality intersected with the camera." "First," he says there was the "movement of cinema verite with people like [Harvard professors] Robert Gardner and Alfred Guzetti." Gardner has explored the cultures of Africa and India while trying not to impose his presence onto the culture. Guzetti has made films about his own family...
McElwee's position at Harvard allows him to alternate between filming and teaching. With a new wife and baby, Adrian, McElwee has found it difficult to make time for filming. He says that Adrian usually doesn't mind being filmed, but on occasion complains, "Put down the camera, Daddy. Be with me," which McElwee describes as a "heartbreaking" phrase. The older he gets the more he realizes "how hard life is," and the more "apologetic" he feels about invading people's privacy. He wonders if he should some day go outside of his own life and begin filming the lives...
Technically, "Sex and Zen" is a accomplished and quite beautiful. Deep-hued silk billows extravagantly around the suitable pulchritudinous actors in just about every scene. Peter Ngor's camera creates a luscious surface of vivid colors and careful compositions that does full justice to Raymond Lee's sets and art direction. However, the film's visual beauty and the amusing acrobatics in some of the scenes fail to distract one from the cruelty of the era the movie depicts. There is an extraordinarily disturbing scene where the prodigiously endowed and sadistic Kuen rapes and beats his wife. Some...