Word: visualizing
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Dates: during 1970-1979
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...more than a curiosity, however, Ma Nuit Chez Maud achieves its power through an aesthetic structure vastly more engaging than mere portraiture. Its first-person narrative frame forces you to share the experience of Jean-Louis (Jean-Louis Trintignant) through his visual point of view (also brief interior monologues), subtly builds up a tension between your sensibility and your experience of his, and finally forces a dialectical confrontation in sequence after sequence with the ultimately desirable Maud (Francoise Fabian), where his choices directly thwart your inclinations to act through him. Rohmer uses this audience identification with the human reality...
Rohmer achieves a visual purity and a unity of image and material that come close to constituting scientific proof, extending even to the surface flavor of the film: here is an exquisitely controlled work about exquisite control. While Jean-Louis is in the process of formulating his relation to the world, the director places him in a position facing, confronting everything. Point of view shots take on an austere, dialectical frontality, especially in dialogue sequences where Jean-Louis often speaks off-camera to the image on screen. The mere groupings of figures in a landscape have a definite significance...
...Visual Aids...
When people have been deaf since birth, they often cannot reproduce speech because they have never heard sounds. To help them learn to speak, Ohio State University's Bio-Medical Engineering Coordinating Committee has developed a device called a visual vocoder that translates sounds into patterns of light. Soon to be used to teach children at a state school for the deaf, the machine features a display board containing 40 vertical rows of twelve lights each. Words spoken by a teacher into a microphone are converted into lights that march across the board from right to left, forming...
...direction, by Bob Rafelson, leans toward the mediocre. Rather than devising a consistent visual approach to the material (and surely there was one to be found), he tries a lot of things-some of which work, many of which do not. Much too often he falls back on photographer Laszlo Kovacs' repertoire of American scenic vistas to punctuate scenes-a device that seems intended, for whatever reasons, to invite comparisons with Easy Rider. Occasionally, Rafelson cuts to moments back and forth in time; this invites comparisons to another, thematically similar American film, Richard Lester's Petulia -comparisons which Five Easy...