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Word: cameraworks (lookup in dictionary) (lookup stats)
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...camerawork is sometimes a bit fuzzy but nearly always unobtrusive. It captures the rich staginess of classical ballet, with all its shaky flats and thickly made-up faces. It even preserves Nureyev's finesse at milking curtain calls...

Author: By Timothy Crouse, | Title: Romeo and Juliet | 11/4/1966 | See Source »

...Francisco Film Festival, arriving in New York with a hearty endorsement from Kenneth Anger, director of "Scorpio Rising." Like most Russian films, it was crude, old-fashioned, sentimental, and arty. But taking all that into account, it was really interesting, with good color, some nice free-form camerawork, and a lot of costumes and noisy Russian folk-music...

Author: By Tim Hunter, | Title: NY Film Festival | 10/8/1966 | See Source »

...least the first hour, Torn Curtain is one of the most visually complex and subtle films ever made. The Master establishes suspense, atmosphere, and minute characterizational detail with editing and color camerawork. In manipulating the reactions of the audience he knows so well, Hitchcock quietly (and romantically) uses point-of-view shots to switch character emphasis, soft and distorted focus to heighten tension, soundtrack modulation to isolate the important, and back-projection (when a scene is played in front of a projected background) to subtly increase intimacy...

Author: By Tim Hunter, | Title: Torn Curtain | 7/19/1966 | See Source »

...Curtain takes Hitchcock into new territory. With the first scene between Newman and Andrews, Hitchcock establishes their love affair as stabler and healthier than those in his previous films. The love scene is composed entirely of close-ups of them together. But almost immediately, by using out-of-focus camerawork and contrasting their points-of-view in his editing, Hitchcock begins to separate them visually, to put strain on the stability of their relationship...

Author: By Tim Hunter, | Title: Torn Curtain | 7/19/1966 | See Source »

...most-touted-new-director of the age, Nichols repeatedly demonstrates that this is his first picture. Even his genius for fast-paced stage comedy (Luv, The Odd Couple, and Barefoot in the Park) can't be found in Virginia Woolf; possibly it got lost in poor attempts at fancy camerawork and cutting...

Author: By James Lardner, | Title: Who's Afraid of Virginia Woolf? | 7/5/1966 | See Source »

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