Word: consciously
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Dates: during 1980-1989
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Unusual camera angles, obstructed views-particularly of conversing pairs-and the division of the work into three tableaux all serve, among other things, to keep us conscious of our voyeur status. The characters themselves tease our distance from the film. "What's that music?" one will ask referring to the soundtrack after a particularly absorbing drama. Finally the improbable conclusion, and one of the film's few hackneyed moments: an elegant string ensemble in an alley-the soundtrack's players taking a bow? -stirs memories of similar Fellini incongruities, satirized here by the moment's harshness...
...simple fidelity to detail that has made L'Amour's novels excep tional bestsellers. His popularity keeps growing because, in an epoch of prose experiments and self-conscious narrative, he has never forgotten to spin his yarn. "My books are meant to be read aloud," he says. "I'm a troubadour, a village taleteller. I'm the guy at the end of the bar or in the shadows of the campfire." In the past decade, he has become a kind of Woody Guthrie of fiction, a conservative populist who believes the myths he creates...
Women also maintain that the Business School curriculum and case system of instruction sometimes perpetuates negative female stereotypes. Despite Schubert's assurance that "there is a conscious effort to develop cases where women are not excluded," the vast majority of them still either ignore female participation completely or present women in roles of limited authority. Women students see an unquestionable need for more frequent references to top-level women so "that when you see the word manager you don't automatically think of the pronoun...
Redford should be proud. There are very few self-conscious director's tricks here; although the plot is relatively straightforward, this in no way diminishes the tension. And the performances are awesome...
...often, to hear them over the fall of water--much less to catch an involuntary vocal tremor. So the problem that undergraduates have traditionally had at the Loeb--the sheer inability to occupy the space while maintaining a modicum of subtlety or humanity--is exacerbated. But the approach seems conscious, particularly when Cornuelle places an actor behind a pole during a key confrontation, or has Marina, the old nurse, speak throughout in Russian. These kind of alienation effects often shed surprising light on classic plays, but I question their use in Uncle Vanya. I believe the director misunderstands the strengths...