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...most startling and depressing passages in James Michener's account of the Kent State tragedy are not those about the killing of four students one year ago (he deals with that almost mat-ter-of-factly), but those wherein he records the hate and anger-against a whole student generation-that surfaced afterward. A mother of three Kent State students: "Anyone who appears on the streets of a city like Kent with long hair, dirty clothes or barefooted deserves to be shot." Where did this Ohio woman get such ideas? "I teach at the local high school," she replied...
Films like this defy reasonable synopsis, since detailed descriptions always shatter the suspense. Suffice it to say that The Lady's basic premise-wherein the heroine finds herself retracing a journey she has never taken and being recognized by people she has never met-is a theme with only a limited number of possible explanations. Alert mystery fans will probably come up with a solution about halfway through the film. Other members of the audience will be lulled into a pleasant state of mild befuddlement, induced by some snazzy film cutting, Claude Renoir's lush color photography...
Formally, too, Memories does lip service to progressive film-making; and there too it cops out. It includes phony pieces of self-criticism: a pseudo-reflexive section wherein Elena, wanting to become an actress, has the hero take her to ICAIC, the Cuban film institute, where he just happens to know a director who has found some pieces of old Hollywood films cut out by Battista's censors, and who wants to incorporate them into a new film he's making-he doesn't know quite how, his film will be a "collage" of social bits and pieces; and thus...
...fluid progression. Often he wastes time opening scenes with touches of realistic detail that can only serve to remind us of the artificiality of the entire venture. Only at the beginning of the second act does a quick sequence of vignettes suggest the texture of a complex, "historical" moment wherein a half-dozen events are existing almost simultaneously. The rest of the time we're all too aware of watching the lineal working out of a Plot...
THIS goes way beyond Eisenstein's theories of cinema dialectics because it is anti-static. It doesn't conceive of thesis as separate from antithesis and resolved in a third shot which represents the synthesis. It accomplishes every scene in very long takes wherein antithesis appears, enters the frame, to oppose a thesis. The concrete relation between these two generates a provisional synthesis, which changes as one term becomes more powerful, and then changes into a new synthesis (a new order of the moment) as a new term enters the frame. To the truth of each image Rocha does...