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...these groups wore special dedications on their back: Either “In Honor of . . .” someone who was still fighting the good fight, or “In memory of . . .” someone who had finished the race; occasionally these were set above a photograph. Around the five-mile mark the walkers from Eliot passed one man walking alone, an “In memory of” across his back. His stride was firm and his focus imperturbable—in a fearsome, solitary quest to do honorably by the loved one whom cancer...

Author: By Brian P. Quinn, CRIMSON STAFF WRITER | Title: An Eliot Tradition: The Jimmy Fund's Friends From Across the Charles | 10/4/2001 | See Source »

...This article consists of photograph--see below...

Author: /time Magazine | Title: Farewell | 10/1/2001 | See Source »

...Levit's untitled depictions of 1940s urban New York has a small child-probably a baby boomer-at the epicenter; her mother is tucked into the periphery and a car speeds towards the child, who runs to her mother. The salient objects of the photograph are machines, cars, buildings, concrete, asphalt, and, in increasing numbers, people. The space presents itself ominously and uninvitingly. The child seems afraid, uncomfortable, not at home. In such a way, Levit appears to be depicting a sort of psychological dysphoria in terms of the physical space her subjects occupy...

Author: By D. ROBERT Okada and Z. SAMUEL Podolsky, CRIMSON STAFF WRITERSS | Title: How the Other Half Lives: Photos with a Mission | 9/28/2001 | See Source »

Hearts of Atlantis opens with a slightly confused image: Through the lens of Bobby’s camera, we see a large, multi-faced crystal sphere. The faces of the crystal bend the light that passes through them in dazzling ways, distorting our view of reality and of the photograph lying behind the sphere. Through the lit orb, perception is filtered and altered, and Hearts in Atlantis, more than anything else is a story of filtered and altered perception...

Author: By Allie R. Murray, CRIMSON STAFF WRITER | Title: With A Warm 'Song' In Our Hearts | 9/28/2001 | See Source »

...high expectations...which were fulfilled. This powerful and poignant tale, as multifaceted as the crystal sphere from the opening credits, is rendered beautifully in the more than capable hands of Scott Hicks. An example of Hicks’ impressive and insightful direction involves his use of glass, mirrors and photographs as motifs to indicate the distance between object, observer and the accuracy of perception. Bobby drifts into his past while gazing through a glass windowpane in his childhood bedroom. On the other hand, photographs, although the camera itself provides distance for Bobby, seem to indicate an exactitude of perception. Bobby?...

Author: By Allie R. Murray, CRIMSON STAFF WRITER | Title: With A Warm 'Song' In Our Hearts | 9/28/2001 | See Source »

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