Word: distinctions
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...childlike outlook in a phenomenology of sensation. The objects of Les Biches melt into the soft-colored fields on which they are placed. Though Chabrol's compositions have a lot of spatial depth. the camera penetrates the spaces before it with such fluidity that one thing is not sharply distinct from another: changes of position in space occur so smoothly and continuously that people, objects, and setting appear to merge...
...Terrell forced Gonzalez to run, and with this attack the Crimson senior had a distinct advantage. When Gonzalez dove to save a short lob. Terrell would follow with a deep smash that left Gonzalez a spectator...
...there is a line that separates these accidental entanglements from cases where the University's responsibility is more distinct. The Middle South Utilities company clearly fits into the second category. Harvard's investment in the Middle South chain is more than merely accidental: under the tutelage of Treasurer George Bennett, the University has plowed more than $15 million into stocks and bonds of Middle South and its subsidiaries. Bennett, who sits on the Middle South board of directors, wisely recognized the tremendous growth potential that Soutbern utility companies offered during the forties and fifties. He not only hitched Harvard...
...achieve selective depth of field, so that he can pull focus from a character in the foreground to the background. Beyond their narrative function, these techniques turn the background from a spatially articulated field of objects into a flat surface of colors. The only place where objects are distinct from one another is in the son's bedroom. Elsewhere we see behind the characters a single plane which is frequently out of focus, no one part being separately comprehensible or related specifically to the character in foreground. The background works on the characters emotionally, through its colors. The walls behind...
...last two reels, Zabriskie Point hits its stride. The best scenes in the film up to then have prepared for the increasing abstraction and breaking-up that dominate the ending. Superficially connected by dramatic relationships, the shots are actually as distinct from each other as the five-minute montage of locations that ends Eclipse. In the airport footage, each group (police, newsmen, airport workers) is given its own turf and its own shot-the camerawork never connects them, and the soundtrack stresses their diverse functions and attitudes. Cross-cutting between Daria's final drive to Phoenix and Mark's return...