Word: visualization
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Dates: during 1980-1989
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Hudlin's second effort, Street Corner Stories (1977), a portrait of Black street corner society and a film that has received significant international attention, holds together less well than Black at Yale. It is an example of blues cinema, a visual answer to blues music, which draws the viewer into its story; because of its new approach it is worth seeing. But this documentation of a series of conversations at a street corner store between working class Blacks lacks cohesiveness. The viewer believes what he is seeing is important but is frustrated by what seems to be a lack...
...though, this uncompleted tunnel lies untravelled and largely forgotten beneath the yard between the Fogg and the Carpenter Center. Concentrators in Visual and Environmental Studies (VES) and Fine Arts say this story parallels the current connection between the two departments...
...present classrooms are abominable--they've got better audio-visual equipment at the University of Damascus than we have here," he says...
...question persists: why make this film? Must every literary classic stumble shell-shocked onto the screen? Time and a host of bad adaptations have shown that literature and cinema are not compatible cousins, that by their very nature, good novels will not make good films, just as the exciting visual effects of film cannot be duplicated in print...
...plastic and asphalt and machines, and they are abstracted on Syberberg's set. The puppets (crafted with cracked faces and a preserved realism) and mannequins are at least half-human, and the actors sometime pose as mannequins. It all seems jerky, not serious, but at the end of every visual fantasy Syberberg's rejoinder emerges out of the monologue to remind you how serious he is: "God created ten men beating their breasts, lamenting, and one who entertained them, laughing. Which...