Word: visualizing
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Dates: during 1960-1969
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...secret Yes in his semi-documentary technique, his legacy from the post-war Italian neo-realist film-makers, coupled with Rosi's own sensitivity to detail. During the bullring scenes particularly, Rosi's skillful use of faces in the crowd provides a visual comment on the action which raises the film far above the newsreel level. Or, is another instance, Rosi places Miguelin outside the Madrid ring selling souvenirs and records the scens when a policeman, unaware that he was on candid camera, chases the poor boy away...
Alfred Hitchcock describes most movies as "pictures of people talking." But he considers his own films "pure cinema," meaning storytelling through montage, the art of putting shots together to convey an idea to his audience. Hitchcock emphasizes this visual concept of film-making whenever he discusses his own films, and in seeing his fiftieth, Torn Curtain, it would be wise to take the hint...
...continues in Torn Curtain to experiment with visual romanticism: Julie Andrews is chastized by Newman on an airplane and as she lowers her head sadly, the camera while dissolving to the next scene begins to blur, as if tears were clouding the lens. Suddenly Hitchcock cuts sharply to the airplane door loudly opening, revealing the East Berlin airport. It is an unnerving return to reality, a visual refusal to give his heroine any means of escape...
Treasured Junk. Cornell's works were first shown in a New York gallery in 1932, exhibited with constructions by other artists under the general label "Toys for Adults." He has always used the visual vocabulary of surrealist collages: cut-up newspapers, pillboxes, corks, postage stamps, piston rings, things usually dug out of pantry drawers. Much of it is deliberately absurd: witness a board embedded with hand compasses; a cubbyholed compartment with cork balls, alphabet blocks and a seashell; or a case containing 15 shot glasses called Petite Musée. They are all symbols shorn of obvious symbolism, junk...
This uniform visual excellence, lovingly lit by Tharon Musser, is all the more welcome when one recalls the hodge-podge of eyesores that afflicted the Festival's production of the play six years ago, with its vulgar Coney Island atmosphere and people cavorting in bath towels and swimming suits...