Word: visualizing
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Dates: during 1970-1979
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...could in the zero gravity aboard Skylab. Garriott had an even more unusual experience; he lost his balance on his first evening back home when his wife turned off the lights as they were going upstairs to bed. "I can't stand up unless I have a visual reference," he complained. Helen Garriott flicked the lights back on and his balance was restored...
...finest film in the area this weekend is probably Bicycle Thief (1949, by Cesare Zavattini and Vittorio de Sica), at Currier. The understatement and visual beauty of this film underscore a simple drama: an Italian workman and his small son search Rome after a bicycle thief steals the bicycle on which the man's job depends. The amateur actors (a factory worker and a working class boy) playing lead roles are really a joy to see. This was the first major film to use amateurs, and their performances seem almost effortlessly effective. When de Sica and Zavattini approached American film...
...program's immense visual appeal lies in costumes that can hardly be matched anywhere else. By and large, they are replicas of what was worn by emperors and ordinary folk during the Ming dynasty (A.D. 1368-1644). Silk is the predominant fabric; even beggars wear it, but with patches. Monarchs always wear yellow gowns embroidered with dragons; women of the higher classes, long skirts concealing their feet. Anyone without a headdress is presumed to be in great danger-and, in fact, may already have been beaten...
...Ferreri's obstinate insensitivity. It could conceivably be argued that the film is a metaphor for the fate of a society sated by its own prosperity, obsessed by its own comforts. It is difficult, however, to credit such subtleties to a director whose idea of a good visual pun is a man holding a turkey between his legs while a woman cuts the squealing bird's head off with an ax. Ferreri's other sight gags include a couple rutting around in pastry batter and a toilet exploding, inundating everyone in the vicinity with excrement. Much...
...hard to reconcile this man with the bright, tangible, often hilarious images that play out their variations in the visual and verbal puns of Grass snovels. The adventures of little Oskar with his drum were told from the caricaturing perspectives of memory and the madhouse. They are rendered as sharply as the figure of Oskar which Grass himself drew for the book's cover. Oskar has a style and a perspective that delicately guide the telling of his adventures through the psychological minefield which the war had left. Lingering guilt--for Grass as for most post-war German writers--infects...