Word: visualizers
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Dates: during 1970-1979
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...ANCIENT GREEK DRAMATIST, the spoken word was a new-found tool with which images could be sculpted, ideas persuasively conveyed, and emotions rendered with vivid eloquence; to the visually-oriented modern film-maker, it is a pain in the ass. In movie versions of great poetic dramas, nervous directors often move their cameras too much, nor enough, or at the wrong times, and the result is that visual and verbal elements constantly elbow each other aside, yielding neither great drama nor great film, but a tentative mess with little emotional force of its own. It is highly significant that perhaps...
Cacoyannis's adaptation incorporates spectacle and visual grandeur, opening up the play logically, to include scenes with the army, and beginning the film with early events which are only recounted in the original. His prose, at least as translated by the subtitles (admittedly a shaky source) is spare and tight, penetrating immediately to the emotional core of every speech and rendering it as simply as possible. What has been cut from the dialogue is most always conveyed visually, usually through the expressions of the actors. Cacoyannis drops the chorus, the most glaringly unrealistic element of the play, although fragments...
...enjoyment of the grotesque. At the film's end, scenes that made the audience shudder aloud in the opening few minutes are repeated; and now they seem commonplace, even acceptable, for the film had had far more brutal moments. At times, Bertolucci's love for vivid detail and for visual lushness results in scenes of great beauty--a bride galloping on a white horse through the mist and poplar trees, a small boy playing in the river, a group of peasant women resisting the landlords against a red sunset. But just as often, Bertolucci also gives us scenes guaranteed...
...also two people named A. Lehm and D. Oliva, apparently highly-regarded as critics (Lehm helped choose and order the films), and they're comments are bound to instructive, because Czech films of the New Wave are complex, multi-layered movies. Combining the manic blackness of Altman with the visual scope of the great German directors--you either feel as if you could step into the great wide spaces on the screen and raise a family or immensely claustrophobic--this was the finest expression of cinema east of Paris since Eisenstien, and foreshadowed the cold brilliant world of the young...
Since architecture at Harvard ranges from that of Massachusetts Hall, the oldest college dorm in the country, to the modern Carpenter Center for the Visual Arts, designed by Corbusier, regulating heating in the different types of buildings poses unique problems...