Word: idea
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Dates: during 1960-1969
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...recognize and create social impact. For example, almost all the projects in the still photography course study either the way people act, the way people have created things, or the way they interact with the things they have created. You are marked on how well you express your idea; so you are graded on an aesthetic. But other departments of the University grade you at least partly on how well you write what you have to say, which is as much of an aesthetic. The two, what you say and how you say it, overlap so much...
...using the 35mm lens to record not just a situation, but the total environment which surrounds it. In one side of his picture of a support-the-war vendor you can see several blocks down the street. A picture of people at tea includes most of the room. His idea is a good one, and he uses it best in a photo of the light on a man eating an ice cream cone. His subject matter, however, isn't consistently interesting. So, sometimes when his pictures tell us, "Look, here's what it is and where it is," we just...
...piece de resistance, a little photographic negative. That it says nothing and means nothing is troubling only because the negative footage looks well cut; one wonders why Milius didn't make something more consequential. At least it was more consequential than UCLA's second prize animated film, An Idea (Walton White), the idea of which escaped me completely although I'm willing to take their word that one existed somewhere...
...elementary metaphysics, and the old illusion-vs.-reality bit. I didn't like it, but that's between me and my generally perverse taste; at least it was the film Parker wanted to make, plainly personal and chock full of substance. One can't quarrel with a well-executed idea, one can only like or dislike it. Peter Simmons' My House (San Francisco State) is another one that can't be criticized: he had the sense to tell his joke about a community of identical houses in two and a half minutes (last year's one-gag film lasted thirty...
...suggested. Lucas's premise comes direct from Alphaville and 1984: in a computer-run dehumanized society where everyone is numbered and serves a function, one man is in undefined revolt. The entire action of the film consists of his running through endless corridors, largely seen through computer monitors. The idea is simple and effective, and extraordinarily well filmed; the initial shot of the rebel, THX 1138 4EB, running toward the camera of a closed-circuit television instantly evokes a gut empathetic reaction, and the color and opticals (dissolves mostly) are employed with flair and discipline. If it all seems insubstantial...