Word: foregrounds
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...will expand the guest list while preserving the intimacy of the first party, says Ali. The first party did better than break even but did not raise as much money as organizers hoped, he says. "We're not raising money for ourselves, we want to keep charity in the foreground," says...
...stretch. It is a scene both banal and grand: an intersection on the highway from Los Angeles to Las Vegas, the yellow highway line plunging out to meet the horizon under a great arch of pale blue sky, dry low brush and gray clay dust on either side, the foreground a clutter of desultory trash, beer cans, markers, a vivid yellow road sign. It is neither ugly nor beautiful, but Hockney has given it real intensity as an image. Partly this is due to the "texture" of the photographs, which, at this scale, work like brush marks. The sky, shingled...
...film opens stunningly. A blue velvet curtain furls like a stage partition, and in the foreground credits emerge and fade. Bobbie Vinton's "Blue Velvet" wells up, and Lynch gives us a picket fence punctuated by fat red roses. We see random shots of Lumberton, the film's seemingly idyllic smalltown locale. Big-hearted firemen wave in slow-motion, houses and trees and citizens stand their ground. Then a middle-aged man has a seizure watering his lawn. The hose spurts above him with sexual abandon, and a mongrel dog lunges on the misdirected spray. Lynch follows this with...
...color scheme, and spare format,Christina's World wipes trouble and anxiety from the mind of its viewer by providing a glimpse of a purer time preserved in the ambered golden tones of Wyeth's brush. Unlike most art critics who maintain that the woman's body in the foreground is twisted in agony and torture, I see yearning and hopefulness in her gesture. Turning away from us toward the home, reclining in the fields of plenty, she is a symbol of post-Second World War America--isolationist instead of worldly, an island of wealth in a sea of poverty...
Much of the film is shot to allow great depth of field, keeping both the foreground and the background of the picture in focus. This technique--pioneered by Orson Welles in Citizen Kane--is known as "deep focus." The use of deep focus lends a strong sense of realism to the film, portraying simultaneously the characters and their environment. Kusturica also imports some techniques from the genre of film noir, especially the notion of the woman-as-temptress (in this case the mistress), and the practice of photographing her image in mirrors...