Word: camera
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...restricted to Harvard ID-holders and their guests, the tour groups that regularly block pathways and gawk at students on their way to classes were nowhere to be seen. With the exception of clusters of eager would-be Harvard parents and their children, there were no massive groups of camera-toting intruders taking pictures of real-life-honest-to-goodness Harvard students or naïvely rubbing our benefactor’s foot for good luck...
...appreciate the privilege and prestige inherent in attending this university, spend extra time on the way to class stopping to avoid interfering with pictures taken in front of University Hall, be distracted by the camera flashes in your peripheral vision as you try to stay awake through a lecture in Sanders Theatre, hear the tourists bargaining with security at the entrance to Widener Library, stare back at the passers-by looking through the open curtains of your suite, or watch as the staff at Annenberg sprints to the hall’s entrance to intercept disobedient and/or ignorant tourists intent...
...comedy Le Goût des Autres (The Taste of Others) - in which a disillusioned businessman falls for an actress and her bohemian lifestyle - that proved their breakout hit, winning four César awards and an Academy Award nomination. Their latest (and Jaoui's second turn behind the camera after The Taste of Others) is Comme une Image (Look at Me), the story of Lolita, an awkward young woman, and her father, Etienne, a self - obsessed celebrity author. As Lolita brings other people into her father's orbit, their efforts to become part of his clique cause marriages...
...hear only the high-pitched moan of the floorboards creaking as a woman’s shoes walk slowly across the floor: This space is completely dead, we see shoes, we hear floorboards—that’s it. The camera begins to pan ever so slowly across the floor; we hear nothing and only see the grainy, wooden expanse of floorboard, board after board laid perfectly side by side—sparse and chic turned ominous. The camera stumbles upon a door, it bursts open, the hand of the dying woman drops, a guttural boom blasts from...
...this passive philosophical notion of our random interconnectedness perverted into a chilling precept of horror. Shimizu makes the most of this, generating tension and genuine terror with a slow, sweeping camera that seems to glide across the traditional Japanese interiors with neither rhyme nor reason; he uses frequent long takes with symbolic tableaux in the foreground and complex interactions occurring in the background. Shimizu takes this potent philosophical notion and maximizes it’s potential for a startling filmic effect; at least, for the first 30 minutes...