Word: visualizing
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Dates: during 1960-1969
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Recurring images of his nightmarish past blend into the impressions of his daily life. The camera does this well. Because the remnants of old fears and frustrations are expressed as visual symbols, it becomes difficult to distinguish the young man's dreams from his present reality. Across from his rooming house is a playground of his nightmare, the same voices of children, the same little girls jumping rope. Even the daughter of the woman he loves bears a striking resemblance to his former victim. This is so convincing that the man although both are rationally aware that all the audience...
...vivid contrast to Welles the Wunderkind, the Telepix offers up Eisenstein, the past master; and by this stage in his career, Eisenstein's mastery had definitely passed. In Part I, lumbering and contrived as it is, at least one can take pleasure from the intricate visual patterns that Eisenstein creates; in Part II, all that remains is a bevy of intolerably melodramatic actors wearing ludicrous hills of fur, droning like a Russian language record played at too slow a speed, and walking with all the grace of Kate Smith in a cha cha contest. In addition to this, Eisenstein switches...
...perhaps the biggest hazard of all is a visual one. To look around at the beginning of a test, to see people bringing in apples to munch while they continue typing with one hand, to watch pile after pile of the Yellow Pages, and to look at the friendly stopples protruding from the ears in front, is to reconsider criticism of the undergraduate policy...
...several steps removed from experience, Ivan (1945) appeals to the eye almost exclusively. The most useful analogy for describing this film is that of grand opera. Just as opera subordinates everything to music, Eisenstein suspends verisimilitude and dramatic intensity to give full play to the carefully arranged, visual sequences of this opera of design...
Sequence after sequence can only be discussed in terms of painterly composition. There is constant visual counterpoint between the lines of the palace walls and the positions of the actors' bodies; Nikolai Cherkassov (Ivan) moves elegantly and always in such a studied way that the complements the total geometry of the scene. Standing on the ramparts of a fortress he gestures formally to the double, symmetrically snaking line of Muscovites in the distance. His hand, directly in the foreground and at right angles to the leaders of the crowd, effects a marvelously heightened feeling of perspective which, in turn, enhances...