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Word: viewer (lookup in dictionary) (lookup stats)
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Ultimately, increased viewer control over the set has meant broadcasters have made less money. When they don't have to watch advertising, people...

Author: By Kevin S. Davis, | Title: techTALK | 2/4/1997 | See Source »

Intriguing, visually beautiful, but emotionally distant, Campion's "Portrait" is a spare one--or rather, an abstract one with spaces that are left to the viewer to fill. In the end, viewers will get as much out of it as they are willing to pull from it. Campion doesn't give any answers, only openended questions, powerful in their suggestivenes but frustrating in their essential opacity...

Author: By Lynn Y. Lee, | Title: Campion, Kidman Paint Innovative, Enigmatic 'Lady' | 1/30/1997 | See Source »

...hits 48 HRS. and Beverly Hills Cop, but it's lame and lazy, inefficient even as the sort of action machine Hollywood can tool up in its sleep. The mandatory car chase is woefully generic; it disregards the laws of physics without raising more than vagrant musings in the viewer. Why, for example, would a cable-car-ful of passengers be too timid to apprehend the lone bad guy while he's busy wrestling with the hero...

Author: /time Magazine | Title: CINEMA: CRIMINAL MISCONDUCT | 1/27/1997 | See Source »

...Hills Cop,' but it's lame and lazy, inefficient even as the sort of action machine Hollywood can tool up in its sleep," says TIME's Richard Corliss. "The mandatory car chase is woefully generic; it disregards the laws of physics without raising more than vagrant musings in the viewer. Why, for example, would a cable-car full of passengers be too timid to apprehend the lone bad guy while he's busy wrestling with the hero?" Murphy is Scott Roper, a San Francisco cop making up his own rules in edgy face-offs with the criminal class...

Author: /time Magazine | Title: Weekend Entertainment Guide | 1/17/1997 | See Source »

...remove oneself from experience while engaging in experience and to make experience deliberately fleeting. The structure of the sitcom Seinfeld continued to depend on dozens of fast-moving, bite-size scenes that simulate the effect of surfing while remaining within a single coherent situation, thus pre-empting the viewer's urge to switch channels. Attention spans remained brief. Control remained remote...

Author: /time Magazine | Title: TO BE OR NOT TO BE...WHATEVER | 12/30/1996 | See Source »

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