Word: viewer
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Dates: during 1970-1979
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...seizure of power in the cradle of democracy paved the way for a favorable reception of Z in the West, but the movie has a lot more going for it besides. None of Costa-Gavras subsequent tracts has come close to capturing the gut-rending tension that glues the viewer of Z to the edge of his seat. Yves Montand turns in yet another tour de force as the pacifist legislator whose brutal assassination triggers the investigation that inexorably leads to the top layer of the Junta: Bear in mind, however, that no Watergate-style denouement awaits the generals. Irene...
...viewing box (both made for Polaroid by an Austrian firm) with a 12-in. TV-like screen, and film-loaded cassettes. The cassette, containing 42 ft. of super 8-size film for nearly three minutes of shooting, is slipped into the camera, exposed, removed and dropped into the viewer like a slice of bread into a toaster. In 90 seconds, the film is processed as it is rewound inside the cassette before being projected on the screen in full color. The cassette then pops up for the viewer "to replace in the library," as Land puts...
There are some disadvantages. At this time, the process precludes editing because the film cannot be removed from its cassette without breaking it. And the film is set up to be shown on the system's viewer and not on any other projector...
...seventh series of bouts-scheduled to be fought in Miami Beach-stopped the tournament, and hired a special investigator to delve into the charges. Rival CBS was caught in the backlash. After promoters set up an embarrassing mismatch for CBS's boxing series, both networks-wary of viewer confidence in the sport-suspended future bouts. ABC hopes to clean house and resume the telecasts, but Don King's tourney and the future of boxing on television may be down for the full count. And ring insiders fear that there may be further revelations, involving the sports press...
...Mother K.'s apartment); he makes Brechtian use of awkward camera positioning to alienate, shooting not from within the action, but as an observer so that his audience will be responsible for creating its own realism; like Godard, he favors a fade-out to black between shots, allowing his viewer a space to fantasize within the action. The total result, however, is Fassbinder's own. The overall feeling he evokes is simple, clean-cut and slow-paced, but enough shots identifying the artifice or the absurd are cut-in to indicate Fassbinder's love of camp as well. Mother...