Word: lighting
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Dates: during 1960-1969
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Throughout the morning, the weather was gloomy. The temperature fell into the 40's with occasional light rain...
...ground where his characters move. Despite his fluid camera motions this spatial plan often imposes upon his characters, notably in Letter from an Unknown Woman and Lola Montes. The introduction of La Ronde tells us that we are in a studio and, after showing us the artificiality of the lighting and sets, invites us to accept them for their beauty, for the pleasant romance of the drama and its trappings. The first episode continues this artificiality by omitting foreground objects and shoving the characters up against backdrops, divorcing their plain flat facial lighting from the elaborate play of shadows...
...SECOND episode's equally long tracks begin to place dark foreground objects before the characters, creating a more typical Ophuls space, even as we move from a light comedy (the soldier and the whore) toward more serious affairs. The third is a brilliantly played will-he-or-won't-he-fall skit, full of characters walking to and from each other through luxurious rooms, and using astounding angled shots and hard cuts. The fourth episode involves us in a more deeply felt assignation-and so the drama proceeds. Walbrook's appearances becoming rarer and shorter...
...unceasing opposition to the War. Publishing his own periodical. The Sixties (now The Seventies ). has allowed him a vigorous forum for his own aesthetics, which his national prominence has made it impossible to ignore. Two years ago, when Bly won the National Book Award for his second volume. The Light Around the Body. he abandoned the speech which had been submitted for approval, and gave another, castigating the government, New York literati. and several other victims; then presented the check awarded him to a member of the Resistance. all before an audience of the most prestigious publishers and poets...
Tuesday's press conference called by the University on the painters' helpers situation shed little light on many questions which I feel are pertinent to resolving the issue-what the painter's helper job is, standards and time periods used for promotion, how Harvard can act to change wage differentials if necessary, etc. I was there at the conference. But I wish to point out right here and now that I was there as an interested individual. I participated in discussion neither as a member of SDS, nor as a member of Afro, but as Diorita Fletcher, black woman, class...