Word: frame
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Dates: during 1960-1969
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...into the city but by moving in toward each other. The group calls itself Havurat Shalom Community Seminary, but it bears little resemblance to a traditional Jewish divinity school. It is actually a fellowship of about 40 well-educated members, including married couples, who meet in a small frame house to study Jewish mysticism and devise experimental forms of worship. Similar group-seminaries are springing up in New York and Philadelphia...
Traditional methods, imaginatively used, have resulted in crowded Masses at New Orleans' St. Francis de Sales Roman Catholic Church. The white frame building once stood in an equally white section of town, but now the central-city area is black. To meet the needs of the new congregation, Father Joseph Putnam, 40, its white pastor, employs more than one kind of tradition. The freewheeling Sunday services, though Catholic in ritual, are heavily Black Baptist in flavor. Music Director Alexander Rankins, a Negro, pounds an old upright piano, leading the al-tarside choir in standard Negro spirituals and other numbers from...
...Minister, digs a great many artifacts himself. Others he buys. "Dayan pays for everything with a check," explained an Arab antique dealer in East Jerusalem. "Tourists are usually in the shop at the time. When Dayan leaves, they are eager to cash the check for me so they can frame it as a memento. So Dayan gets his archaeological pieces, I get my money, and the tourist gets the autographed check." And Dayan's bank account remains unchanged...
Lang's world supports this cynical statement. His framing is so tight that it chops off the tops of people's heads. Instead of revealing the depth in which the characters move, the frame has become a trap, as we see in an early tracking shot that closes in on a fleeing man. The studio in which Lang shot the film must have been a prison. The cells, psychiatric or criminal, in which characters are repeatedly locked completely differ from the one cell that appeared in The Gambler. That room realized the romantic plight of its inhabitant, Mabuse's mistress...
...quality of ideality that informs every action depends on the film's even pace-but also on its soft lighting, its gentle depth, its unity of space within the frame. All these devices contribute to the unity and flow of the action. This total integration, though it lasts through the film, does not remove emotional intensity from the ongoing action. It rather lets every incident and every gesture assume tremendous weight for no formal structure opposes the actions within the frame...