Word: spatial
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This is a style which goes to an extreme of simplicity by using methods perfectly unique to film. It renders every personal event visible, and depicts changes in relationships as physical events. The dramatic structure of Mizoguchi's scenes equals the spatial relationships of their characters. So that in his works drama comes down simply to motion, that is, change in place over time; and narrative drama is completely incorporated into film space and film time. Narrative reality becomes the reality of his films...
...Architect Paul Rudolph packed 36 levels into his seven-story Art and Architecture Building at Yale. It was a stunning display of spatial organization and strikingly handsome. But students soon gave it an E for effort -which is a failing grade. They complained of faulty air conditioning, inadequate room for their work and poor lighting. Before the building was gutted by fire last year, its windows were filthy. They had, in fact, seldom been washed: the architect had neglected to provide any simple, economical way for washers to get to the great glass panes...
...once innocent and culpable. Many Eastern European pictures were unavailable; American companies prefer to release their films without any festival foreplay. But no such restrictions forced the selection of solemn bores and hedged experiments that mark the 1970 festival. Presented with inconsistent aesthetic standards, promoted with hyperthyroid jargon ("vertiginous spatial ambiguity . . . total meta-theatricality"), the New York Film Festival continues an uneven tradition now running into its eighth year. Some representative features...
Chabrol realizes Why's childlike outlook in a phenomenology of sensation. The objects of Les Biches melt into the soft-colored fields on which they are placed. Though Chabrol's compositions have a lot of spatial depth. the camera penetrates the spaces before it with such fluidity that one thing is not sharply distinct from another: changes of position in space occur so smoothly and continuously that people, objects, and setting appear to merge...
...airport footage, each group (police, newsmen, airport workers) is given its own turf and its own shot-the camerawork never connects them, and the soundtrack stresses their diverse functions and attitudes. Cross-cutting between Daria's final drive to Phoenix and Mark's return to L. A. stresses spatial differences and dissimilarity of direction and movement, widening the gap between their futures. Except for two brief inserts when police are pursuing him on the runway Mark is never shown again-just the plane. He loses all force and identity, becoming a distorted symbol for the ignorant people awaiting...