Word: gaze
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Dates: during 2000-2009
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...small booth in the middle of the Midtown Tunnel,” he writes in the prelude to the first poem of his newest book, “The Man in the Booth in the Midtown Tunnel.” In this collection, the poet’s gaze spans New York and the greater Boston area as he observes his characters with attentive and probing eyes. Holder recounts absurd moments in the miserably ordinary lives that constellate his world. He uses these stories as a sort of social critique of today’s humdrum realities, engaging a universal...
...Obama considered this, turning his gaze this way and that along the street, then raised his voice in a sudden challenge to the taxis crawling below...
...behest, we have become a “service nation.” At least this appears to be the case from the effusive selflessness that has filled campus bulletin boards and open lists since the dawn of the new liberal epoch. With a shocking suddenness, the undergraduate gaze has swung from Manhattan penthouses to Mississippi shantytowns. City Year is now a more desirable employer than Citigroup. The increasingly social spirit of our generation is undoubtedly a good thing. But it is not nearly good enough...
...rrie guided what could have been an overtly maudlin disaster into an aesthetically stunning and thematically satisfying piece of visual art. But the movie falters when it begins to show signs of the skewed persepctive that so often characterizes the depiction of the fetishized East by a Western gaze. Though there is no denying the symbolic resonance of age-old emblems—the titular cherry blossoms, for instance, or the impressive Mount Fuji—their prevalence trivializes Rudi’s earnest attempt to reconcile his past wrongs with a renewed love for his wife. As generic...
...garb and set against a dimly lit background. His face is lit from below, as if illuminated by ceremonial candlelight. Fani-Kayode looks uncomfortable in his friar’s robes. The lighting is just strong enough to capture his eyes, which avert downwards and away from the penetrating gaze of the camera and the viewer. Fani-Kayode’s attire seems to suggest conventional Western spirituality; the photographer’s apparent awkwardness in such garb intimates the discomfort of his relationship with these religious values, perhaps due to his homosexuality and his African heritage.Throughout...