Word: visualizers
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...were hits. Fellini's 3-hour La Dolce Vita, released in subtitled and dubbed versions, grossed the 1961 equivalent of $80 million. Part of its appeal was in the panoramic views of Roman naughtiness and Anita Ekberg's cleavage. But Fellini, along with many other directors, was experimenting with visual language. Imagine: here were new ways of seeing the world on film...
...geared towards departmental classes. The Kendall Cinema, owned and operated by National Landmark Theatres, also benefits from additional financial support, but lacks the individual curation and film selection like the Brattle’s.These thoughts on the Brattle’s importance were echoed by Assistant Professor of Visual and Environmental Studies J.D. Connor ’92, who teaches popular courses on historical and contemporary cinema. Connor loves the Brattle, “from its real butter to its clocks,” and describes it as a critical part of his own film education. “Chunking...
...video retains none of the song’s charm. It begins with stock footage of a sunset reminiscent of the visual noise run behind lyrics on karaoke machines, then cuts to a tableau of the movie’s cast belting “Seasons” to an empty auditorium...
Perhaps this scene is the director’s acknowledgement of the film’s theatrical origin and his attempt to incorporate images of the stage into film’s visual idiom vis-à-vis postmodern notions of meta-narrativity...
...shot on high-definition video, and like many films of this medium it seems perennially underexposed. Also, it lacks the rapturous quality of a celluloid production—which is unfortunate because many of the film’s otherwise beautiful shots lose a bit of their visual poetry due to video’s representational limitations. However, what “War” lacks in visual refinement it more than compensates for in thematic resonance and superior acting. “The War Within” is a compelling and important film, and it deserves to be seen...