Word: visualizes
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Half the fun of "Star Wars" comes from taking in all those special effects. Although the technology never approaches the rarefied levels of visual fireworks achieved in "2001: A Space Odyssey," special photographic effects supervisor John Dykstra has pieced together an impressive collection of robots, futuristic weaponry and spaceage interior sets that will keep the eye titillated while the intellectual faculties take five. The spellbinding dogfight and final assault of the Empire's central nervous system that wind up "Star Wars" are particularly noteworthy for the way that Lucas so easily integrates the gimmickry into the climax...
...Troopers. However, the plot of "Star Wars" is in fact what separates it from its imitators. Lucas creates an entire universe akin to Tolkien's Middle-Earth or even William Faulkner's Yoknapatawpha County. But unlike these two creators, Lucas builds his universe with broad strokes, providing a comprehensive visual and narrative world even though we do not know such specifics as the nature of the Rebels' true cause, the story behind the Clone Wars, or the scope of the Empire. He also assimilates mythology, pulp science fiction, and popular dramatic conventions into his story and makes them...
...abruptly shifts. Over the next several years, the brain will ruthlessly destroy its weakest synapses, preserving only those that have been magically transformed by experience. This magic, once again, seems to be encoded in the genes. The ephemeral bursts of electricity that travel through the brain, creating everything from visual images and pleasurable sensations to dark dreams and wild thoughts, ensure the survival of synapses by stimulating genes that promote the release of powerful growth factors and suppressing genes that encode for synapse-destroying enzymes...
...imagination. Out of the traditions of Venetian painting, he taught himself to be one of the most audacious space composers in the history of art, capable of dissolving a solid ceiling into light and vapor. But the distanced, self-aware theatrics of his style--his parade of visual language as a source of delight--make him look modern, even though there isn't an artist today who could begin to rival that virtuosity...
...film's villains are from Central Casting, the cops from Keystone. But that's not what matters. Taking a page from the Martin Scorsese handbook, Curtis Hall smartly heightens moments with epic visual declarations (slo-mo, negative images, gigantic closeups). The speeches are arias, the shots operatic, complex...