Word: mutes
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Dates: during 1990-1999
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...inspire students to share their scholarly excitement, they have crushed great learning into mediocre bits, lest students choke on it. They have reduced great revelation to mere relevance. In the process, the great thinkers who might otherwise inspire men and women to greatness, become cold marble busts sitting mute while scores graduate without their sage teachings...
...Work of Art in the Age of Mechanical Reproduction, Walter Benjamin writes that the body of the filmed subject "loses its corporeality, it evaporates, it is deprived of reality, life, voice and the noises caused by his moving about, in order to be changed into a mute image, flickering an instant on the screen, then vanishing into silence. The projector will play with his shadow before the public." Shimon Attie's work, currently on view at the Institute of Contemporary Art in Boston, is premised on such shadowplay, but with profoundly moving results...
...real jewel of the film is Samantha Morton as Hattie, a mute laundress who tries to tries to take up Emmet as a lover. Looking like she just stepped out of a silent film, Morton gives a performance that, without a single line of actual dialogue, matches Penns in intensity and sheer entertainment value. Her expressive eyes and Groucho Marx facial expressions make her the perfect foil for Emmets self-absorbed rambling. Its so clear that the two are right for each other that when Emmet totally fails to realize the value of Hatties unconditional love, we realize just...
...original founders, Cheyney Thompson, who migrated there recently. Thompson's "1839," a series of acrylic paintings of woodbeam-and-brick cross-sections on transparent organza, exposes infrastructural delicacy. Also with Nathan Carter, Daniel Lefcourt, Tim Seiber and Bettina Sellman, whose installation, "the absence of dreaming," encases mute forms in satin...
Penn does bold justice to this lowdown giant. But Samantha Morton, as Emmet's "mute orphan half-wit" of a girlfriend, is the sweet revelation. Rarely has a performer mined such complex and potent emotion from such simple materials: a smile, a shrug, an attentive winsomeness. She hardly nods or shakes her head in response to a question, yet always conveys the meaning and feeling. In an age of actors' tics and rantings, such austere clarity is worth cherishing. The interpretive magic that Emmet Ray achieves with six strings, Morton conjures with none...