Word: skin
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
...smooth mass of wet hair plastered against her naked back and the dark triangle of her bikini bottom both define and contrast with the shape of her body against the glossy ripples of the ocean. The visual statement of these two dark splotches against her skin is so powerful that it almost overwhelms the knowledge that we are looking at a woman's body. Sometimes the focus on form enters the realm of pure optical illusion. One example is the photograph of the bodies of two men in a desert, overlapping in such a way that they resemble an alien...
Ritts also homes in on every textural detail: neither beads of water nor grains of sand on the skin's surface escape him, but in fact add textural depth to the picture. Another series of photographs shows models encrusted with white or black paint, turning their living bodies into images reminiscent of classical Greco-Roman statues...
Light and dark are precisely defined in these photographs; not for Ritts the ambiguous grays of other photographers. Although he loves to contrast the two, he does not deal in shadow play. The darkness in his photos comes from dark hair, a dark background, dark skin, and is distinctly separate from the light...
...Werner Spitz, a respected pathologist, on the stand. His testimony that the cuts on Simpson's left hand were caused by the struggle with Ron Goldman, who gouged Simpson with his fingernails, riveted jurors. (Spitz even offered to rake his nails across defense lawyer Robert Baker's skin to demonstrate. "We're not going to have any gouging of flesh out in my courtroom," Judge Fujisaki said.) Even without that dramatic flare-up, the cuts--or rather the assorted stories he has told about them--may prove problematic for the defense. Simpson testified at his January deposition that...
...Like Bess, the writer-director has undergone a conversion. His early pictures, Element of Crime and Zentropa, were wondrously busy examples of cinematic Euroflash; here he goes for sweeping visual sentiment. He wants to press you up against the characters, to make you feel the heat under their pale skin. So, as in his 1994 Danish TV series, The Kingdom (a bizarre blend of ER and Twin Peaks), he uses a handheld camera that swivels like a bobble-head doll. It's intimate, all right, and utterly maniacal--as deranged as the villagers think Bess has become...