Word: viewer
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...adolescents, butthere is no explanation as to what turnedthe man so bitter in the first place.Robb and Stahl deliver touching andbelievable performances, but aren’t convincingenough to overcome the weaknessesworking against them. The disparitybetween the quality of their actingand the poorly-constructed world theyinhabit leaves the viewer torn betweensympathy and boredom. By the end ofthe film, the viewer is hoping for thereturn of Joleen, not out of concern forTara and James, but out of a desire to seethe credits roll.—Staff writer Rachel A. Burns can bereached at rburns@fas.harvard.edu...
...curtain and headphones. Moyra Davey’s “50 Minutes” is a profound contribution to the broader notion of the mundane that runs through the show. The documentary’s subject matter and camera work are raw: the video twirls and dizzies the viewer, providing a physical sensation of spontaneity, while Davey delivers a 50-minute monologue about her psychoanalysis sessions, the art of photography and reading, and nostalgia. The camera moves between subjects as quickly as the human eye. The previously-mentioned “In the Near Future” by Sharon...
...boyfriend schemes to break into the pornography industry; a father escapes his bleak marital situation by losing himself in pornographic films. Bock meditates on how the filmed lose their power as their private moments are recorded, edited, marketed, and removed from their control. But he also examines how the viewer is affected by film: Newell’s parents can endlessly watch footage of him at a pizza party, but the repeat viewing is merely a realization of their own powerlessness. They are unable to effect Newell’s life in the unrecordable present. The entire book is caught...
...secrets themselves are not the point. Although Galison and Moss do zero in on specific examples like the Reynolds case, the statements made in their interviews deal mostly in generalities about the political and ideological ramifications of withholding secrets from the American public. This kind of discourse turns the viewer into little more than a newspaper-reader and makes the personal story of Reynold’s widow seems reflexively important but oddly foreign. In a series of remarks before a screening at the Harvard Film Archive, Moss himself admitted that, in filming “Secrecy?...
...ultra-red Texas. The movie starts at the beginning of Austin’s boom and traces its transformation into the sixteenth-largest city in the nation with the third-highest growth rate from 2000 to 2006. In a brilliant move, the first part of the film seduces the viewer with Austin’s appeal—Willie Nelson, cowboys, and democrats—while the second half outlines the city’s problems of over-population, showing what happens when too many people follow their desire to move to an ideal place. Director Laura Dunn does...