Word: colorism
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Dates: during 1960-1969
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...Samson and Delilah looks comparatively modern. DeMille's camera moves more than usual, and often beautifully. He stages Delilah's discovery of Samson's blindness with real cinematic imagination; the camera follows Samson turning the millstone as he passes by her, completely oblivious to her seductive presence. The color, while no better than opulent, is opulent indeed; DeMille makes even the sky look expensive...
...suggestions of plant and animal shapes, the rhythm of waves and the exuberance of flame. To many, his work suggests a latter-day Georgia O'Keeffe. Like her, he is attracted to "organic form, relating to living things in general." He will occasionally sketch leaves, is fascinated by color photographs of fish and Oriental paintings of insects. But picking up a wineglass in his studio, he says, "This doesn't interest me as a form. It's marked by history, geography, society. I'm interested in the universal, not objects...
McLuhcmalysis. That qualifier suggests what is really the great imponderable of all TV news: picture power. It bears not only on the question of riots but on every news event in which TV with live coverage (in color), turns reaction into action. To what extent have strikers, angrily airing their grievances on TV, caused other union men to hit the picket lines? Have scenes of racist mobs screaming insults at Negroes in spired white viewers to march for civil rights? What would Stokely Carmichael's influence be without his exposure on TV?* And how many suburbanites, after seeing...
...this is his message, Bufiuel dresses it up in Belle de Jour with unaccustomed cinematic smoothness. Instead of the brutal bludgeoning in black-and-white that audiences have come to expect from such Bufiuel classics as Viridiana or Los Olvidados, Belle de Jour is composed in color with an eye to elegance that is well suited to the cool beauty of Deneuve...
...redemption from the psychological bonds of slavery. In the end, the scalpers get their just deserts, of course, and the Indians get revenge, plus Shelley. Who rides off into the sunset? Ossie and Burt, both of them on Agnes, and so caked with mud that they are the same color-a brotherly beige...