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Word: hand-held (lookup in dictionary) (lookup stats)
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...different tack, Herba's I'm A Stranger Here Myself describes a boy's unmotivated need for an unspecified amount of money, and more properly investigates the relationship between actors, film, color, and light. Constantly in motion from interiors to exteriors in single hand-held takes, Herba's film makes an intense observation of how a given light setting will appear different under different conditions: the boy is walking down an overexposed street, he ducks into his car, the camera ducking with him, and is suddenly in perfect exposure...

Author: By Tim Hunter, | Title: Two Student Films | 4/16/1968 | See Source »

...only member of the company with any movie experience to speak of. John Bindon, 24, is an ex-merchant seaman who has never even acted before. Poor Cow is also the first film for TV Director Kenneth Loach, 30, who has achieved a personal, idiosyncratic immediacy with a hand-held camera and ad-libbed dialogue that sounds natural enough to have been taken off a tape recorder...

Author: /time Magazine | Title: New Movies: Poor Cow | 2/9/1968 | See Source »

...five 18th hole, Nicklaus was four strokes behind, so he audaciously decided to go for an eagle. His second shot landed on an impossible rock perch at the top of a sheer drop down to the ocean. A forehanded ABC crewman was in the right place with a hand-held camera to watch him agonizingly line up and then blow his desperation third shot-and with it any chance for the top prize...

Author: /time Magazine | Title: Sportscasting: Not in the Same League | 1/26/1968 | See Source »

...shines, Nichols points his camera at it; if a car approaches the camera, Nichols bounces the headlights off the lens; should a character jump into the water, Nichols makes the camera jump into the water; and as mood becomes essential, well, Nichols can always shoot it with a shaky hand-held camera...

Author: By Tim Hunter, | Title: The Graduate | 1/19/1968 | See Source »

...psychedelia profit from traditional structuring; but by sticking to a coherent narrative, Rooks and photographer Robert Frank make this nether world accessible to the film's uninitiated audiences, providing something of a public service. Frank comes close to achieving a sensible relationship between the narrative film and the hand-held camera, and between color and black-and-white tootage transposed in editing. Imaginative scene conception, beautiful unfiltered color, and excellent acting help make Chappaqua a highly successful exercise in therapeutic film autobiography...

Author: By Tim Hunter, | Title: The Ten Best Film of 1967 | 1/5/1968 | See Source »

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