Word: viewers
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Dates: during 1990-1999
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...would Ingres have liked this show, the first ever dedicated to his portraits? Impossible to guess. He might have objected to seeing what he considered the lesser part of his work isolated from the greater part, the paintings of history and myth. A modern viewer couldn't care less, and shouldn't. For with the passage of time, Ingres's portraits have become history paintings in their own right...
After O'Hara brings the miniature spaceship home, the viewer gets a taste of the physical comedy that serves as the film's saving grace. The alien's spacesuit, possessing a life and personality of its own, startles O'Hara in his living room by slapping him on the behind. O'Hara seizes a golf club and chases the suit around the room. Tumbling over the furniture while Zoot does summersaults, O'Hara finally ends up cracking himself with the club only to wake up attached to the ceiling. The scene, although pure, unoriginal slapstick, provides a good laugh...
Cage looks good on screen, dressed completely in black with a cigarette jutting out the side of his mouth, and his controlled presence is one reason why 8MM is such a strong, gripping thriller. The great strength of Walker's script is the way it plays on the viewer's emotions more and more as the story unfolds. When first viewed, the events on the eight millimeter film are shocking in their barbarity but not emotionally overwhelming because the girl is just a face with no identity. But as the plot develops, the viewer learns of the girl's past...
...synthesizers and layers of vocal tracks that could not be reproduced in a live setting--there was never any expectation of replicating the studio magic on stage. But the group provided no substitute for the irreproducible, no extra beeps or stage props or surprise supplementary music. Manson left the viewer with the impressive Technicolor image of a fluid, prancing carrot-top frontwoman; Garbage left the stage without making a lasting impression...
...extent that De Hooch made allegories of virtue at all, he certainly didn't try to shove them down the viewer's throat. His morality was all sympathy; he wasn't in any direct way a preacher. But in a time and place that put the strongest emphasis on the idea of the ordered, tranquil family as the basis of a just society, his visions of domesticity had a distinct symbolic point. Disorder, in the real world outside or the formal one inside his paintings, repelled him. Everything in his interiors is swept, garnished. De Hooch epitomizes the Dutch obsession...