Search Details

Word: gazes (lookup in dictionary) (lookup stats)
Dates: all
Sort By: most recent first (reverse)


Usage:

...although I didn't notice it until that March afternoon, crossing the Yard is the only saving grace. There, beneath the watchful gaze of the man who is not John Harvard, all the non-Xers gather, taking pictures, listening to tour guides and generally passing through our little universe, knowing that they will soon leave it behind. Every so often, I think I'll follow them. But, alas, Expos paper due tomorrow...

Author: NO WRITER ATTRIBUTED | Title: CROSSING THE YARD | 3/11/1996 | See Source »

...compliment to a woman--that she acted and thought like a man--just as new Hollywood accepts films with transvestites, men who act and think like women. In the '50s, gayness could be viewed as a social disease (in Tea and Sympathy) or with oblique rapture (in the torrid gaze of Stephen Boyd's Messala at Charlton Heston...

Author: /time Magazine | Title: CINEMA: THE FINAL FRONTIER | 3/11/1996 | See Source »

Imbuing the camera's eye with spiritual significance, director Theo Angelopoulos brings us the visually beautiful, yet emotionally challenging "Ulysses' Gaze." Through the story of a director's earnest search for a film reel from the earliest history of cinema, Angelopoulos chronicles a greater quest for lost innocence and an untainted view...

Author: NO WRITER ATTRIBUTED | Title: Keitel on the Wine-Dark Sea | 3/7/1996 | See Source »

...reels themselves blend the historical with the universal: through their unbiased view of daily life in the Balkans, they represent a clarity of vision (literally, the "gaze" of the film's title) from the past. This multi-layered sensitivity to the co-existence of history, and the present, shows up early on: the film opens by spanning, in one shot, people filming a boat years ago, and Keitel's A. in the present...

Author: NO WRITER ATTRIBUTED | Title: Keitel on the Wine-Dark Sea | 3/7/1996 | See Source »

...pronounced architectural character, influenced by Fernand Leger's "tubism" as well as by Vuillard. Grantchester Road, 1975, is an interior with a fireplace, and the indoor plants are of the same pictorial species as the green spreading palms in Hodgkin's Indian paintings. The separation of room and gaze gives Hodgkin's work its basic trope, that of peeping and peering--from culture (the room) into nature (everything else) and back again. It's not about seeing here and now but about the memory of having seen; not complete and ordered possession of a sight but the turbulence of memory...

Author: /time Magazine | Title: ART: DELIGHT FOR ITS OWN SAKE | 1/22/1996 | See Source »

Previous | 105 | 106 | 107 | 108 | 109 | 110 | 111 | 112 | 113 | 114 | 115 | 116 | 117 | 118 | 119 | 120 | 121 | 122 | 123 | 124 | 125 | Next