Word: camerawork
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Dates: during 1960-1969
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...action. The technique works best in the scene between Aufidius and his Lieutenant. Babe plays only half the scene on stage, the second half on the film soundtrack: the stage blacks-out and we watch Coriolanus of film, still listening to Aufidius talk about him. Alfred Guzetti's camerawork on these clips is, in context, superb. Following the Peter Brook style of the film of Marat/Sade, Guzetti aims into lights, moves into faces, and exploits claustrophobia, creating a handsome chaos which supports Babe's pacing and the pervasive feeling of tension...
...probable explanation for the omission is that there was no film available of those battles, and such was the deficiency of both NET documentaries. The producers were so smitten with their own camerawork in the fields and labor camps that they did not provide perspective on the problem-whether its cause lies in the economics of the industry, lack of unionization, inadequacy of the laws or failure to enforce them, or perhaps a combination of these factors. As a result, the exposes were neither as searing or as illuminating as Edward R. Murrow's 1960 CBS documentary on migrant...
More often than not, the camerawork reveals Nichols' ineptitude at choosing the right solution to filming a given scene: Benjamin's first exploration of the hotel room, opening doors and switching-on lights, is filmed in tight close-up, losing the potential of the quickly varying lighting effects, and inadvertantly showing us less of Benjamin's emotions than we would see were the camera ten feet further away (a similar scene is done to perfection in Truffaut's Soft Skin); a scene shot through a diving mask and one with six frame inserts of Mrs. Robinson's naked body...
...Etranger is not a romantic story, and Visconti's slow and disciplined camera-work, though impeccably framed and lit, sometimes lacks the conviction to make it more than simply illustrative. Nonetheless, in the second half, beginning with the beach sequence, L'Etranger becomes a tour de force of subjective camerawork. It uses the zoom lens to juxtapose the moral postures of the different characters, and create a monstrous and disordered world around the anti-hero. Visconti must have chosen to film L'Etranger for strange reasons. He is plainly more interested in the dramatic mechanics of the preposterous trail then...
...Russell. Billion Dollar Brain is a provocative film, inventive and intelligent. In a period marked increasingly by acceptance of lack of craft (witness the reception of Mike Nichols' mediocre The Graduate), Billion Dollar Brain stands out as a low-level case-book of cinematic efficiency. Russell's camerawork is frequently tantamount to cutting: he will start on a medium shot if Michael Caine, swing up to a sign on a building, down to people leaving the building, and back to Michael Caine--all so quickly we might have seen four separate shots. The interior-exterior point-of-view cutting...