Word: expressivity
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Dates: during 1960-1969
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...hope that radical will feel free to express their doubts and questions," Gilbarg said. "Though the section leaders have planned a program, each group will be free about what it wants," he added...
...imprisoned by the camera sweeping around her. Ophuls' cutting in closer to her body, rather than tracking in (a surprising thing to do in CinemaScope, which is better adapted to long takes than to quick cutting), emphasizes her staticity, her closeness to death. But the camera motions, which express the glamor vital to the circus, generate the energy and the grace Lola needs to begin re-enacting her life...
However, at the same time that the ringmaster presents her life's extravagance, beauty, and freedom, to the audience, Lola relives its desperation and compulsion. The camera movements of the first sequence ironically express both. Outwardly they, like the gaudy props, have a vulgar splendor and sweep. Lola, staggering backstage, mutters inwardly "My past's spinning in my head...
...Lola's affair with Frantz Lizst--couls show her perfectly free (it's constantly filled, for example, with romantic music), and therefore like the heroes of Ophuls' early films. But Ophuls' static one-shots emphasize the separateness of the two lovers. Large objects in these shots' foregrounds express their estrangement. The characters' harmonious existence depends now entirely on their restraint, their good taste (Lizst, for example, being a musician). There is no exuberant, graceful triumph over surroundings; the first time a character moves freely through the setting is when Lola walks through the empty room Lizst has left...
...middle of each are the sick, static Lola, and provoking a second flashback. In it Lola, a child still mourning her father's death, accompanies her mother aboard ship only to discover her affair with an officer. The sweeping camera movements which follow this child through the ship and express her curiosity and longing, ironically stress the objects and walls that confine her movement through the cramped lower deck. But complete imprisonment is prevented both by her smooth motion down long corridors and through crowded rooms, and by her detached, wondering viewing of objects. At the end of the sequence...