Word: viewers
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Dates: during 1960-1969
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...idea of works that can be disassembled, says Berrocal, grew out of his conviction that sculpture is primarily an art that appeals to both hand and eye. To feel what the sculptor felt when he made it, the viewer should be able to hold its weight in his hand-an experience that can be satisfyingly sensual...
Perhaps from disdain, perhaps from a remove of age and philosophy, Jancso never ties his story or his sympathies to any main character. To him, all the high cheekbones and fierce mustaches, all the tired, tragic faces are one. The viewer must be content (or disturbed) with a vision trained on people but not on persons. Though Jancso is sometimes eclectic, he borrows only from the best, from the wintry compositions of Ingmar Bergman or from Goya's acid Disasters of War. At his most original, the director resembles neither film maker nor painter. In his own deep-dimensioned...
...film's romance is the narrow province of the guide (Ian McShane) and an American businesswoman (Suzanne Pleshette). Between their mooning glances, the viewer is given a fast shuffle of Venice, London, Brussels and Rome. The scenes flick by like telephone poles seen from a moving window; Director Mel Stuart is more interested in drawing gross caricatures of his gawking, squawking, hamburger-hungry tourists...
...viewer is soon filled with an identical emotion. Every other shot, it seems, is the crotch of a pair of male dungarees; every adolescent attempt at high metaphysics recalls the warning that mysticism begins with mist and ends in schism. In his soft-centered drama of sex as destroyer and healer, the once promising film maker sedulously apes D. H. Lawrence, whom he seems to have both studied and misunderstood. In the future, Pasolini might well heed an earlier author, whose Sonnet 94 could have been addressed to artists who inflict private fantasies on their public...
...that should be seen at least twice, is the best way of getting to know Godard's highly personal style: his revolutionary jump cuts, blue and red filters, characters set against a blank wall, references to his other films, and heavy use of literature. Above all, Godard makes the viewer acutely aware of the film-making process. His point here is to make the viewer acutely aware of the film-making process. His point here is to make the viewer realize that his is not an "art film," divorced from life, but is rather a film of life itself...