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Word: mirrored (lookup in dictionary) (lookup stats)
Dates: during 1980-1989
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Usage:

This is the mood in Solaris, Mirror and the other sanctuaries erected over the past quarter-century by Andrei Tarkovsky. The pleasures these films admit are rarefied: the meticulous placing of actors and objects in a frame, the charged and stately grace of a camera movement, the surreal images from someone else's dream. Yet you should also feel the spectacular unity of vision and visuals, of passion and method. Compared with The Sacrifice's art, the formal sophistication of even the best Hollywood movies seems superficially applied, like press-on nails and a styling...

Author: /time Magazine | Title: Cinema: End-of-the- World Blues the Sacrifice | 11/24/1986 | See Source »

...Yevtushenko. But soon his artistic intransigence and the supposed obscurity of his themes nettled the bureaucracy that financed his films. The epic Andrei Rublev, completed in 1966, was not released in the U.S.S.R. until 1971; Solaris (1972), based on the Stanislaw Lem novel, suffered official censure; the lusciously enigmatic Mirror (1978) and Stalker (1979) sealed Tarkovsky's fate as a picturemaker on the way out. Within a few years, he was. He went to Italy to make Nostalghia (1983), about a Russian estranged from his homeland, and to Sweden for The Sacrifice with Ingmar Bergman Stalwarts Erland Josephson and Cinematographer...

Author: /time Magazine | Title: Cinema: End-of-the- World Blues the Sacrifice | 11/24/1986 | See Source »

...armchair. When Matisse saw the glitter of light on a band of water, he wanted to get it right, along with the curlicues of wrought iron between his eye and the Baie des Anges, and the peculiar Moorish dome of a pier pavilion, and the curl of a dressing- mirror frame, and the flat black cover of a notebook on the vanity, and the way a scrim curtain hung and stirred in the faint breeze -- and all the rest...

Author: /time Magazine | Title: Art: Inventing a Sensory Utopia | 11/17/1986 | See Source »

...strain between the all-over pattern and the real motifs gives his Nice paintings their special vitality. But the strain was real, and in extreme cases, like Decorative Figure on an Ornamental Ground, 1925-26, it induces an almost palpable discomfort. The sheer congestion of pattern -- rococo mirror, painted wallpaper, overlapping rugs, Ming blue planter -- dismays the eye while seducing it, and the architectonic forms of the nude halt the whirling of color like a massive log brusquely jammed in the gears of a machine. This is the creation not of a complacent man but of an artist...

Author: /time Magazine | Title: Art: Inventing a Sensory Utopia | 11/17/1986 | See Source »

That statement created a stir when the Times Mirror Co. recently sponsored a press forum in Washington. Jack Nelson, the outspoken bureau chief for the Times, said, "I think there is a real contempt for the press within the Reagan Administration, and I think it starts at the top." Nelson feels his colleagues are insufficiently aggressive in covering the Administration, "and I don't think television is aggressive...

Author: /time Magazine | Title: Press: Newswatch: Being Too Easy on Reagan | 11/17/1986 | See Source »

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