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Word: visualizers (lookup in dictionary) (lookup stats)
Dates: during 1990-1999
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Usage:

...words through the medium of film. Indeed, the reason why Lyne's film works is that it focuses upon the potential of film to beautify even the morally grotesque, ensuring that Nabokov's broader message about the power of art has not been lost, only translated to another medium. Visual images take over for book's words; for instance, the idea of "haze," a play off Dolores Haze's name which is so prominent in the novel, transforms itself into visible haze in the film, from Humbert's grainy remembrance of his first love, Annabel, to the ever-present cigarette...

Author: By Irene J. Hahn, CONTRIBUTING WRITER | Title: A Film About Film: Lyne's 'Lolita' Opens | 10/9/1998 | See Source »

...Hollywood, slavery and its infamous legacy have begun to serve as outlets for ambitious filmmaking, whether through wrenching visual impact or intense emotional experience. In recent memory, Edward Zwick delved into the psyche of the black soldier for his sweeping Civil War epic Glory, while Steven Spielberg intertwined visually jarring images of slavery with courtroom drama in Amistad...

Author: By Bill Gienapp, CONTRIBUTING WRITER | Title: 'Beloved' Spreads Its Boughs | 10/9/1998 | See Source »

...Professor Alfred Guzzetti, Visual and Environmental Studies...

Author: NO WRITER ATTRIBUTED | Title: ON THE PHILOSOPHY OF SHOPPING IN CAMBRIDGE | 10/8/1998 | See Source »

...adds, without apparent irony. The film is also attentive to the change of seasons in the year of the story's life; the surrounding woods and streams are limned in lustrous imagery. But the whole picture, with its flashes of desaturated color and reversal film stock, is a visual trip. In one sense, this ranks as Demme's most adventurous and painterly film. Like Spielberg, another movie boy wonder in his 50s, Demme has made a new movie that plunders and enriches the cinematic vocabulary...

Author: /time Magazine | Title: Cinema: Bewitching Beloved | 10/5/1998 | See Source »

When Robin Williams enters hell, the movie's visual style lags. Like Ward's heaven, hell is a collection of schoolbook cliches, but without the visual flourish that marked the earlier passages. The hell that Woody Allen presented satirically in Deconstructing Harry is far more frightening than the absurdity in What Dreams May Come. Perhaps no director could reconcile presentations of heaven and hell successfully--David Lynch could certainly do the latter--and in this situation, Ward fails at both tasks...

Author: By Jeremy J. Ross, CRIMSON STAFF WRITER | Title: Hell is a Dour Robin Williams; Heaven Can't Stand Him Either | 10/2/1998 | See Source »

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