Word: laura
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...criminals from making money from their crimes, Mafia snitch Sammy ("the Bull") Gravano shouldn't benefit from his work with author Peter Maas on a book about life in the Mob. Publisher HarperCollins says he was not paid, but one victim's daughter thinks that's bull. Last week Laura Garofalo sued Gravano for wrongful-death damages to the tune of $50 million...
...made in the set design: most notably the picture of Tom's father, which was represented by a framed blank. This was perhaps meant to underscore the fact of his absence, or to strengthen the suggestive power of his unseen presence; whatever the reason, it certainly gave one pause. Laura's glass collection did not occupy the central position one might expect, being placed on stage right and partially obscured by the sofa. When Tom, in a fit of anger, hurled his coast at his mother, instead of knocking over the glass ornaments (as in the original script...
...choice of Baroque music for "Laura's theme" was still more questionable; something simpler, more ethereal, and more delicate, like the fragile glass animals, would seem to be in order rather than the elaborate ornamentation of a Bach violin concerto. The lighting, on the other hand, was fairly standard, shifting from an initial dimness to "candlelight" in the crucial Laura-Jim scene, to complete darkness as Laura blows the candle out. A wise choice if not a particularly exciting one: conventionality doesn't detract from its emotional effectiveness...
...think that's exactly what I was getting at. It's really helpful if you break it down into the Irish, or in some cases generational analysis and talking about the medium. It seems similar again to your work on Cindy Sherman, where we could say that Laura Mulvey throws on a feminist reading and you ask more specifically how that functions within Sherman's work, how her photographs signify or come to a feminist stance...
...course you have to be aware of all of those other possibilities, because clearly Cindy Sherman herself is reading Laura Mulvey and knows all about that material and is programming a lot of it into her work. But she's also programming other things, just a James Coleman isn't sitting there in Dublin for nothing. He's totally aware. For instance, he lived in a house in Montjoy Square, which is the square that was the setting for Synge's The Plow and the Stars. I'm not sure of this, actually. We are now treading on my area...