Word: visual
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Dates: during 1960-1969
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...syndicated and eventually perhaps make a network comeback, he is starting in modest style. Instead of yesterday's Today army of 116 staffers, Garroway gets along with just six in Boston. The format, in TV jargon, is "music, demo, demo, talk, talk"-guest singer or jazz group, a visual demonstration of something like glassblowing or astronomy, and the inevitable circuit-riding horde of authors promoting books or public figures pushing causes. Garroway calls it the "desk and sofa concept," and he certainly should know. Yet his taste, often waggish, brings in such atypical guests as the proprietor...
...LEAST a third of the Orson Welles' series is the work of New Wave directors (Godard, Varda) or people close to them. Perhaps a third more comes from younger Europeans whose dramatic and visual experiments are still more drastic. In all of them the director designed his film form the beginning to end, which makes watching them a grand revelation. To figure out films designed as a unity gives you a new ability to look for meaning in their dramatic construction and visual style, instead of relying entirely on the dialogue and actors' expressions. The variety of dramatic forms...
...formal awareness is also essential in appreciating the classics of American film. Given broadly standardized plot material, those American directors worthy of the term used dramatic handling and above all visual style to make their films personal expressions. To understand these directors attitudes you have to listen less exclusively to what the dialogue says, and look instead at how the director treats the dialogue and plot he was given. The Orson Welles' series is an especially pleasant and rewarding way to start doing just that...
...satisfied and satisfying smirk, on the most promiscuously overtaxed on present literary and theatrical modes. There is no smidgen of irony in this production of Jesus, though certain of its devices, described here outside their stage context, will inevitably suggest the reverse. The hundreds of vivid and contemporary visual references with which Mr. Mayer has leavened this text--derived exclusively (excepting the interpolated songs) from the King James Version, Gospels and Apocrypha--are not, I think, to be take as acid annotations on either the myth they illustrate or the times which produced their referant images. Rather they serve...
Moreover, some critics contend, the artist's license to show and do all creates an audience of voyeurs passively feeding on their fantasies. In the visual arts, as in literature, "the cult of utterness," in one critic's phrase, tends to devalue and depersonalize human sexuality. In an essay in the book Language and Silence, an eloquent condemnation of pornography, Literary Critic George Steiner objected: "Sexual relations are, or should be, one of the citadels of privacy, the nightplace where we must be allowed to gather the splintered, harried elements of our consciousness to some kind of inviolate order...