Word: visualizes
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...scene and an all-white cast, From Hell has some striking similarities to the Hughes twins' previous work: it's populated by hookers, and even good men are seduced by drugs. Depp's lavish, opium-induced visions help him solve the crime and let the brothers show off their visual bravado. "It was an interesting way to tell what was going on in his head," says Allen. ("We make no secret that we smoke marijuana," says Albert, who calls it "an aid to creativity...
...doctoring, reads like a full-blown Hollywood screenplay. Steven Soderberg’s 2000 Oscar-award-winning Erin Brockovich tells just such a story. To be sure, Soderberg’s nuanced cinematographic virtuoso played no small role in the movie’s success. His refreshingly honest, underproduced visual aesthetic won him a second Oscar at the 73rd annual Academy Awards for his harrowing portrayal of suburban American drug culture in Traffic. But this is icing on the proverbial cake—in the case of Brockovich, Soderberg’s genius is merely superstructure to an already captivating...
...system by the scruff of its neck, moralizes it, defeats a corrupt and malicious business conglomerate and makes no small fortune for herself and others. At the film’s start, Brockovich is combing the classifieds to no particular avail—an image that becomes an important visual trope. Then, after incurring debilitating injuries from a car accident, Brockovich seeks the legal expertise of small claims attorney Ed Masry (Albert Finny), who fails her outright. Holding Masry personally responsible for her condition, Brockovich filibusters her way into a clerical position at Masry’s law firm. While...
...Ristelhueber has not always been an artist, having first taken a master's degree in literature, and not producing any visual art until 1980, when she was already past the age of 30. Her shift towards the visual is significant, for it underlines an important aspect of her artistic philosophy. She abandoned literature in favor of visual art because she believed that "there is no greater reason to make art than to explore the world as it is", and that, by extension, a literary description could not possibly express the nature of a physical image as well as a visual...
...this valuation of the visual over the literary is more than just an aesthetic philosophy, but rather also reflects Ristelhueber's philosophy of history. Ristelheuber seems to have a radically descriptive and almost impartial outlook on the horror that characterizes human conflict. That is not to say that Ristelhueber in any condones or looks favorably upon the disturbing images in her photographs--it is perhaps quite the contrary--but that she looks upon human conflict as inevitablethat history rolls forward in all too similar cycles, characterized by paroxysms of violence at every turn...