Word: visualizers
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Dates: during 1970-1979
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...opening portions of Equus unveil the two recurring images that will dominate the film's visual dimension: a close-up of the doubt-ridden psychiatrist Martin Dysart (Burton) musing about the complex case of his teenage patient Alan Strang (Firth), and a darkness-clothed scene of a naked Strang standing beside a horse, the object of his near psychotic obsession. Lumet fills his lens with Dysart's ruminating face, punctuating the narrative with the Shakespearean soliloquies of the confused shrink. At times, these infrequent monologues border on the histrionic, as Burton casts off the necessary restraint of a film star...
Harvard's visiting lecturer on Visual and Environmental Studies, Yugoslavian film-maker Dusan Makavejev, will make a reciprocal trip to lecture at Berkeley next week...
...pleasures of the flesh. Accordingly, every element in this production was pushed to abnormally heightened intensity. With the placement of the accompanying Harvard-Radcliffe choruses along the walls of the theater, the sound engulfed the audience from all sides, rather than just from the orchestra pit. And the visual scene was intensified by the moving colored lights and the looming shadows of the dancers projected onto a backdrop. And the choreography even stretched the body lines out of frame; a prevailing mode of movement used shoulders and elbows in a fluid geometry of angles and wedges thrust into shace...
...intruders on his island seem uniquely fitted to one of the bleakest acts of cultural colonization in history: the English subjugation of Ireland, which began with the Anglo-Norman invasion of 1169. In the flowering of Irish monastic culture during what were once routinely called the Dark Ages, the visual arts in Ireland had reached a splendor unequaled in the rest of Europe. But war, burning and pillage destroyed most of the relics...
...first sight, "A Wedding in the Family" looks like "Oh God, another film about the family." It gives Boston film-maker Debra Franco a crack at every visual artist's secret desire--taking classic wedding pictures--and it forces an objective look at the American family. This one eventually pulls through as a questioning of traditional values: Are women accepted as mature human beings if they remain unmarried? Is the security of marriage worth the sacrifice of career and individuality? Franco asks the questions and doesn't fall into the pea soup of trying to answer them...