Word: foregrounds
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Dates: during 1970-1979
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...With a combination of fascination and dismay, they read his shifting pronouncements on energy, human rights and monetary policy. They were disturbed by his folksy style, his reliance on a rather young and unworldly circle of advisers from back home, and his insistence on pushing his family to the foreground. Rosalynn's role in White House decision making was unsettling, and Amy's tagging along on state visits seemed inappropriate...
...created scores of dynamic long takes penetrating the New York City streets from different angles. Accompanying the characters, their camera embraces a characteristic part of the environment while maintaining a compositional coherence of the moving image. The background in these takes persistently changes in design and perspective while the foreground is periodically "disturbed" by the turbulence of passing vehicles or silhouetted pedestrians. While the exterior long trackings are executed in medium shots with a pronounced depth of field(except in one specific case), New York streets are clearly visible and constantly changing as the characters walk across the avenues...
...early morning. The ensuing conversation between Allen and his girlfriend Tracy (Mariel Hemingway) takes place in the bar (Elaine's), composed of a dozen brightly lit medium and close-up shots. then the first long tracking take occurs along the street with Allen and his girlfriend in the foreground; in contrast, this is succeeded by an interior sequence with Keaton and Murphy in their apartment, with several medium shots executed by a panning camera. Again there is a long tracking take with Allen and Hemingway walking through the streets, and turning corners, on a sunny day. An abrupt...
Through all this, the pace never varies. We are treated to cliche camera work (fading back and forth between blurred background and foreground figures, over the shoulder shots into mirrors) and cliche background music (B.B. King singing "The Thrill Is Gone" as the violinist lies bored during her husband's lovemaking). Lee Grant, as the violinist, wears clothes out of the seventies...
...foreground constantly throngs with figures, and this is where trouble begins. To achieve such massed scenes, next to impossible in normal animation, Bakshi first created a live-action film and then had the cartoon traced over it, virtually frame by frame. The technique allows for large-scale battles and much hacking and hewing, as well as some distracting side effects. When the crowds are especially dense or the action swift, the superimposed cartoon fades to a sketchy approximation. The live actor-models flicker like ghosts behind a thin wash of color, and the viewer feels an urge to apply...