Word: carcass
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Dates: during 2000-2009
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...snapshots of reality convey a purposeful meaning, as in the emotional tribute to Boone’s deceased son, Israel, which provides a startlingly graphic yet real and passionate description of the way a person like Boone might react to seeing his young son’s buzzard-ridden carcass. Despite the inherently unfamiliar nature of the work, set roughly in the latter half of the 18th century, the elements of human nature are stunningly resonant with the contemporary reader...
...find baffling or unnerving or belligerent, chances are Nauman is somewhere behind it. Years before Damien Hirst submerged a sliced shark in formaldehyde, Nauman made his own comment on flesh and death called Carousel: four metal arms swing in a circle like a ceiling fan, with a faux animal carcass hanging from each and dragging hellishly along the floor. As for those neon wall pieces, every artist working in painted or electronic words--there are lots of them--owes something to Nauman. And when the celebrated British artist Rachel Whiteread is done casting entire empty rooms in plaster...
...indescribable atrocities committed upon Jesus’ increasingly carcass-like body in the initial torture scene are heartbreaking, until the recurring image of the elated torturers flaying mercilessly achieves a somewhat tedious tone. The march in which Jesus bears the cross to the point of his crucifixion is similarly excruciating, but he has one too many dramatic falls for the experience to have a fully realized impact. The wounds that the film inflicts on his audience are rarely left fresh, but exposed for so long that they are allowed to scab over...
...indescribable atrocities committed upon Jesus’ increasingly carcass-like body in the initial torture scene are heartbreaking, until the recurring image of the elated torturers flaying mercilessly achieves a somewhat tedious tone. The march in which Jesus bears the cross to the point of his crucifixion is similarly excruciating, but he has one too many dramatic falls for the experience to have a fully realized impact. The wounds that the film inflicts on his audience are rarely left fresh, but exposed for so long that they are allowed to scab over...
...anywhere." Indeed, in his eclectic 10-year career, Kaneshiro?who speaks five languages and has made films in four countries?has trained his chameleon-like talents on a remarkable array of characters. In Hong Kong director Wong Kar-wai's Fallen Angels, he played a mute who rode the carcass of a pig like a cowboy. He made love to an HIV-infected teen in the blockbuster Japanese TV miniseries God Please Give Me More Time. In Returner, he played an orphaned assassin-for-hire, and he was a bowling-addicted stockbroker in another Japanese TV series, Golden Bowl...