Word: colorism
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Dates: during 2000-2009
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...Ritchie loves characters who provide conflict and, more important, congestion; his pictures are downright garish with local color. A few from this fresco: Tank (Nonso Anozie), an Anglo-Afro bruiser who's fond of Merchant-Ivory dramas; Handsome Bob (Tom Hardy), a gang member who unexpectedly plights his homoerotic troth to the flummoxed One Two ("What exactly is it you want to do to me, Bob?"); and, best of the lot, Johnny Quid (Toby Kebbell), a junk rocker who has faked his own death to sell more CDs. It's a star-making part for Kebbell...
...displays pitch-black blacks, consumes less power than a similarly sized TV and has the widest color gamut of any display ever made," he said. The reds, he noted, were a case in point. Put the LaserVue alongside Dorfman's lcd, and his reds would look orange. Indeed, the LaserVue comes closer than any TV before it to reproducing the colors one sees in a film in a movie theater. Mitsubishi, which has a lock on the technology so far, is working on a 73-in. (185 cm) LaserVue. Merson said prices (and screen sizes) would doubtless diminish over time...
...vast exhibition halls in southern Paris one color dominates: green. From the carpeting and lighting to the artificial lawn trimming and acid-green cocktail dresses worn by countless exhibition assistants, the message is hammered home that the industry has staked its economic future on the green revolution. The transformation has been swift. Only a few years ago automakers sued California and Rhode Island to stop governors from imposing local limits on carbon dioxide emissions, and they have lobbied hard against the European Union's efforts to legislate emission standards from Brussels...
...Graham has little time to develop her personality. The film’s style, which could have served to elevate its subject matter, only deadens it. Just as Kinnear portrays a very ordinary man, director Marc Abraham places him in a very dreary world—1950s Detroit. The color quality of the film is bleak and sometimes so washed-out as to seem almost black and white. The muted music of the soundtrack is often overshadowed by background noises, such as people murmuring in a restaurant or traffic on a puddle-filled street. The only breaks from the film?...
...paint something that will ruin the appetite of every son of a bitch who ever eats in that room." But in the end it was Rothko whose endurance gave out. By then, he had completed more than 30 canvases: dark, foreboding panels in which his characteristic horizontal bars of color were replaced by explosive verticals or squares that seem like gateways to something ineffable. Unwilling finally to imagine this work on the walls of a society hangout, Rothko withdrew from the project...