Word: visualizers
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...color-by-numbers in Highlights magazine to blank pages for drawing their own pictures. Let’s make sure that, when it comes to academic color-by-numbers, we remain grown-ups.Garrett G. D. Nelson ’09, a Crimson editorial editor, is a social studies and visual and environmental studies concentrator in Cabot House...
...visual style, the movie has a formal rigor familiar to the serious European cinema: just about every scene, no matter how long, is shot without cutting. (The nearly two-hour film has fewer than 70 shots.) That's often an enervating strategy, but here it works marvelously, either forcing two characters together as reluctant conspirators or isolating each in his or her predicament. Bebe's examination of Gabi, and his insertion of the syringe, is accomplished in one harrowing shot. There's a bustling scene, at the birthday party of Otilia's boyfriend's mother, that becomes a kind...
...stains the C.V.s of some fairly honorable movie people. The director is Gregory Hoblit, who helped dream up the distinctive visual styles of the TV shows Hill Street Blues, L.A. Law and NYPD Blue, and directed the not-bad crazy-killer thriller Primal Fear (which introduced Edward Norton to film audiences). Two of the writers, Robert Fyvolent and Mark R. Brinker, are first-timers, but the rewrite man (or in this case woman), Allison Burnett, scripted last year's saucy, amiable Robert Benton movie Feast of Love. I know a buck is a buck, if not nearly a Euro...
...emeritus director of the Kinsey Institute in Bloomington, Ind., a place where they know a thing or two about the way human beings pair up. But that limited understanding is expanding. The more scientists look, the more they're able to tease romance apart into its individual strands--the visual, auditory, olfactory, tactile, neurochemical processes that make it possible. None of those things may be necessary for simple procreation, but all of them appear essential for something larger. What that something is--and how we achieve it-- is only now coming clear...
Much of Cloverfield's visceral force comes from its use of handheld cameras. By the time Blair Witch was made, unstabilized amateur footage was already visual shorthand for disaster, the vernacular of the apocalypse?think of the Zapruder film or the footage of Rodney King being beaten. And that was long before Sept. 11 and YouTube. Grainy, unstabilized footage gives us a sense that what we're watching is real?that the hand brake is off, that we won't be protected by the bland, safe conventions of a studio movie. "I felt like there...