Word: foreground
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Dates: during 1970-1979
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...masterpieces; significantly, Hanna Schygulla starred in all three. She is to Fassbinder what Giancarlo Gianini is to Lena Wertmuller: a charismatic presence who carries the entire film. Despite arresting cinematographic touches--chilling musical inserts, the startling shot of an unidentified man pawing a women's breasts in the foreground--and solid performances by other actors, The Marriage of Maria Braun depends for its success upon the all-pervasive influence of Schygulla. The film has already garnered prizes at this year's Berlin Film Festival to her for best actress, and to Fassbinder for best director. One waits...
...demonstration on October 20, the first large-scale feminist protest on the issue of pornography in ten years, took a lot of people by surprise. Conceived of two months ago by an organization which has only existed three times that long, the demonstration brought to the foreground an area of women's rights which has seldom been confronted by the women's movement and often swept under the rug by other progressive groups. Pornography--a multibillion dollar underground industry with organized crime and international connections, which WAP claims eroticizes male humiliation of and violence towards women in the name...
...with recorded choral music. The verdict--great sound quality but a little soft, a defect that has the sound engineers from Donovan and Co. scrambling. They have to do a good job. After all, they took roll after roll of publicity photos Sunday night with their truck in the foreground, the altar behind. "Test 1, 2, 3, Test 1, 2, 3," echoes through the park. And the crowd, satisfied, cheers...
...term f/64 designates the smallest lens opening on cameras then used, the one that gave the greatest depth of focus and hence produced images that were sharp from foreground to background. To these photographers, f/64 also stood for "straight" photography, as against pictorialist fuzz. Instead of continuous tone, they went for high contrast. They also cropped and isolated their subjects: driftwood, seashells, worn rocks at Point Lobos, or the polished interior of Weston's Mexican toilet bowl...
Badham obviously knows that horror movies are only fun when they run the risk of being silly. So his camera tracks all over the place, with insects and spider webs and skeletons in the foreground, and massive, Gothic, bat-like sets or magical, panoramic English cliffs and countrysides in the background. The bulk of the action occurs inbetween, and Badham reaches it by cutting rapidly or tracking or literally walking up to it, camera jiggling subjectively. Very little happens outside the frame, so we rarely worry about what we can't see, only about how vivid and nauseating what...