Word: themes
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Dates: during 1960-1969
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...this, but film history supports one or two generalizations. Most of the great films transcend a primary level of visual reality, that of superficial "slice of life" recording and, aware of the magical power of the image to convey an absolute truth, move toward dramatic metaphor in subject and theme, in order to convey ideas that will affect us, living in the one reality film cannot reproduce. The meaning of great film exists ultimately not in the script mechanics but in the treatment of script mechanics by distinct camerawork and editing. All worthwhile analysis of film, however literary in appearance...
...whatever natural tranquility he is observing, he sets out to destroy it. In The Third Lover, Mercier, a writer jealous of the marriage of a more successful author, ruins their lives by unmasking the wife's infidelity, thus indirectly causing her death. The Champagne Murders, while sharing this theme, is immensely more complex, mind-bendingly hard to fathom. Substituted for the romantic dream-world of the student in Les Godulereaux or the marriage in The Third Lover is this harmony of tensions between Paul, Chris, and Christine. Perhaps only unconsciously aware of the degree to which they thrive...
...wider angle of vision, we are jerked away from the luxury of watching action in sharp focus detail. The effect is one of ultimate suspension, in every sense of the word, and the greatness of the ending is a consequence of the perfect optical realization of attitude and theme...
...violin and cello. This was done in such a way as to give the listener the impression of a teasing, question and answer conversation between the two instruments. Not once did the piece move slowly or the sound lose its rich quality. In the Allegretto especially, the opening theme was brought back with force and clarity. By the response of the audience, it was clear that the musicians had overcome the handicaps of the heat and Sanders Theatre...
...possible directions towards which the play could have been pitted. One such is the line towards the end of the play delivered by Dr. Bonfant, "One must never understand one's enemies . . . One must never understand anyone for that matter or one will die of it." This strikes a theme so rich, with its Hamlet-like overtones and its implications about the difficulties of taking violent revolutionary political action that a play constructed around it could have been immensely profitable...