Word: visualization
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Dates: during 1980-1989
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William Miles, the Harlem-born writer and producer of the series (who was responsible in 1977 for the splendid World War I documentary Men of Bronze), is obviously in love with his subject. Instead of an ordinary documentary, he has fashioned a kind of oral and visual history, with long interviews with those who remember (including one ancient man who recalls the famous buzzard of '88). Occasionally the interviews take their own good time-and the viewer's-as Miles lets his oldtimers wander too far down history's obscure bypaths...
Despite the difficulties, there was still time last week to imagine the lift-off that would for the first time use solid rockets to boost men into space. Said NASA Official James Kukowski: "It's going to be a visual spectacular, more spectacular than usual. When Columbia goes up, it won't be just flames and steam as it is for the Saturn stuff. There will be huge streamers of fire and dark, billowing clouds of smoke." And, quite likely, a good deal of hoping and praying. And not a little of that anticipatory mood that was expressed last week...
...Russia, the three-year-old Louise convinced herself that her father had abandoned her, and she refused to utter a single word for six months. But in 1905 passage money came, and the Berliawsky family took ship for America. At a quarantine depot in Liverpool, Louise had the first visual experience she can still clearly remember: a sweetshop at night, with rows of glass jars glittering under the electric glare, each jar filled with a different sort of colored candy-toffees, bull's-eyes, peppermints, fruit gums. "It looked like heaven," she recalls. "It was very magical." There...
...have been doomed from the start. After all, why bother having people do what animated figures do better? Moreover, no movie can keep up with the breakneck pace of a cartoon. Yet Altman seems to have all the ingredients for a blockbuster film. He succeeds in creating a busy visual and auditory atmosphere, but he fails to take advantage of his opportunity for free play on several levels. As just two examples, he throws in a few bits of scatological humor, and completely avoids using the Popeye story as a serious metaphor. A bawdy or allegorical interpretation of Popeye might...
They are spectacular on every level. Scorsese has always aimed at a visual sort of lyricism, and in these fight scenes he achieves it, weaving images and sound (terrific thumping, a bull lowing, a bull breathing, with crowd noises entering and leaving according to the intensity of the action). Scorsese uses every camera effect in the director's handbook--slow motion, freeze-frame, subjective camera, aerial shots, close-up, blurs--and the miracle is, it works. Clearly, this is not boxing as it really is, but boxing as the movies saw it; indeed, the fights are choreographed just like...