Word: visualizing
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Dates: during 1970-1979
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...destroyed what was good in their sources without adding anything else. Partner, in particular, which obliterates its source with such effectiveness--and to such little artistic effect--contrasts strongly with The Conformist, for which Bertolucci reordered Alberto Moravia's novel in order to rebuild it on the strongest of visual terms. In The Conformist, Bertolucci presents the same anti-bourgeois, anti-fascist feelings that make up the moral tone of Moravia's novel; in Partner, there is no moral stance aside from the platitudes uttered...
...VISUALLY, TOO, PARTNER points up Bertolucci's greatest short-coming. Aside from occasional verbal slips, he is most pretentious when his fluid camerawork begins to dominate the content of the film. Superfluous dolly shots, over-emphasis on color, and attempts at unusual angles begin at times to take over his films. Spider's Stratagem is probably the worst offender in this area, since Borges' story needed no extra emphasis at all. But there Bertolucci was merely trying too hard to make his points. In Partner he molds the film to suit his visual whim. A revolving chandelier is the most...
...diversion. Shown last October at the Grand Palais in Paris, it opened in Manhattan last week. It is undoubtedly the most important exhibition of its kind ever mounted, and, coming after the Met's numerous woes in 1973, it reminds us why, as a root of our visual culture, we still need great museums. Organizations like the Met, the Louvre, or (presumably) the Hermitage can be pachydermatously insensitive to the confused needs of their public. But when they move, they move with weight. They can deploy enormous diplomatic clout to get loans, bring together constellations of work that could...
...vocal variable, to be interpreted by the vibrations. In his enthusiasm for "body language"-the things said by facial expressions, gestures, posture -Farb goes far beyond most scholars of the new linguistics. "Pupil performance," he proclaims, "does not depend so much upon a school's audio-visual equipment or new textbooks or enriching trips to museums as it does upon teachers whose body language communicates high expectations...
...chaos--are presented with the same frenzied, confused montage which wreaks havoc on the plot. Even the masters of quick-cutting, whom Brown openly imitates, structure their films around sequential thought, building their tricks atop a plot that conveys at least a remote sense of plot or development. Tenuous visual connections alone aren't enough to grab an audience...