Word: screens
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...packed cast. Shrek, who sounds sort of like Fat Bastard Lite, has few good lines, and it is Donkey who steals the show. In what may be Murphy's funniest role since The Nutty Professor (or Metro, but that was more of an unintentional thing), Donkey prances around the screen, firing off a stream of surprisingly funny jokes and comments. Lithgow also deserves praise and laughs for his vocals on Farquaad, who is perhaps the first on-screen character ever on screen to have computer-animated chest hair...
...artwork in itself has a lot to do with its atmosphere. While walking to the viewing site, you pass through a small hallway that is lined with black egg-crate padding. In front, a subdued red light and mellow chimes entice you to enter. And once inside, the double screen film installation seduces you to stay...
While the atmosphere is powerful, the video keeps you hooked. The amazing video work takes advantage of the double-screen, converging and diverging on specific images to show a dazzling array of hypnotic designs. Colors like bronze, gold, silver and marble create an almost surreal on-screen ambiance. The museum from which the film was recorded was built to resemble a ruin, which distorts the perception of time and space. Add to all this that the subtle time-lapse video recording, in which an image on one screen lags behind the same one on the other, and you feel like...
...Long Road to Maztlan,” Julien uses similar elements—such as color, space and time—to tell a modern cowboy tale. Using a three-screen projection rather than two, Julien explores the contradictory elements of cowboys; their masculinity and eroticism, their freedom to roam yet restrained emotions and their frontier mentality. Cowboys dance randomly from screen to screen, then simply stare, then start swimming nude, then dance again—this cycle continues. The cyclical features of both the cowboys and their backdrop distort the perceptions of freedom and wild exploration that are naturally...
Similar to that of “Vagabondia” (2001), this earlier “The Long Road to Maztlan” (1999) uses vivid colors and distinctive hues in the face and skin to emphasize human vulnerability. Each screen, while seamlessly in contact with each other, emphasizes different shades of the same face. This makes for a powerful perspective change, as characters dancing from screen to screen are seen from a different light whenever they change screens...