Word: context
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Dates: during 1970-1979
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...indifferent to it- because he cares nothing for his plot. Given the story situation, he could have made the film into a psychological study, a detective story, or a lover's confrontation. But his aim is merely to tease the possibilities of all three, just enough to provide a context for his real interest which is to create a parable of the decay of capitalist consciousness. The hallucinating mind of Antonio comes to represent a political system deprived of coherence, left only to a bombast of images of its growth, crimes, guilts and fears. The plot is a contrivance...
Anderson's detailed readings can be brilliant, as in his exposition of Whitman's "Crossing Brooklyn Ferry." But for a man who keeps demanding context and more context, he seems remarkably provincial. He acts as if the disintegration of "communal ties" were a problem invented by 19th century America. He is guilty of a crime of his own: thesis protecting. He neglects to point out that Emerson's "imperial self" was bred, after all, with the help of German philosophy. Every Zen trender can spot for himself the Oriental mysticism in Whitman, but as far as Anderson...
...essentially passive. Rocha modifies this concept in developing the dialectical shot, in which each element-each character, myth, power-figure-comes into conflict with other elements, leaving nothing to exist as a pure entity (like each image in a montage style), nothing to operate outside of a natural dialectical context. Rocha sees this kind of context as a constant, being a Marxist, and portrays no character without a dual, self-contradictory, internally dialectical nature. Diaz, for example, is continually marching around carrying the black flag of the labor movement in one hand and a crucifix in the other. Martins tells...
...message was the traditional yearly summing up and call for repentance. But he put it in modern context and made it unrelievedly apocalyptic. "Our world is coming to an end," Schechter told the congregation. Prejudice, hate and selfishness proliferate, he said. "The city is an ecological disaster." No two people today recall quite the same version of the young rabbi's rambling, extemporaneous sermon, but most recall that he quoted from rock lyrics, waved his arms prophet-style, peppered his talk with "hells" and "damns." Reform Judaism, he said, had lost its ability to adapt: "We've frozen...
...across large areas; it made the paintings into a kind of environment conducive to meditation and withdrawal. Because they were made for domestic use, the imagery of byōbu is generally secular. But Western categories of what is or is not secular make less sense in the context of Japanese art, in which aesthetics is raised to the status of ethics, and any image, from a crane stepping into water to the gesture of a dancing girl, can disclose a web of references to safari, or illumination...