Word: mirrors
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...English film world of recent years? "The actors have always been there, the Renaissance, as you call it, has been among the directors and in the style of filmmaking. Location is so important in many of these films, especially the very realistic ones. Film-making is now really a mirror held up to nature, for the first time. I'm thinking, of course, if 'Sunday Bloody Sunday,' and films of that type. When I was at school, there was this whole New Wave in the film world: you had people coming in like Tony' Richardson or Tom Courtenay...
...walls of all glass, often called glass-curtain walls (as in the Fagus Shoe-Last Factory, 1911), convey an airiness and transparency never before attributed to building structures; the modular furniture and even buildings, like the faculty-housing for Dessau Bauhaus, are each really identical, but are built as mirror-image units, and are further differentiated by being placed at 90 degree angles...
Meanwhile it seemed that every actor in the world who was over 35 - and some men who were not actors - was scowling into his mirror and jockeying for the plum role in the picture: the Godfather himself, Don Vito Corleone. Under consideration were prospects who ranged from George C. Scott to Laurence Olivier to Italian Producer Carlo Ponti, Sophia Loren's husband...
...water's edge, turning the earlier symbol of the beach as social wasteland into the psychic boundary between the conscious and sub-conscious. Picasso's surrealism, captured also in the implicit and explicit imagery of the theme of the artist and his studio, or in his "Girl before a Mirror", raised the question of identity through images now hauntingly familiar from Bergman's Persona; the struggles of the psyche distorting the very appearance of a person's face...
...well worth reading. They all deal with modern post-Eliot and Pound poetry, what Dickey thinks is wrong with it, and where he thinks it should be going. Like everyone else, Dickey has the irrational longing for the unwritten and perhaps unwriteable poetry which would hold up a clear mirror to the way we live now. He does, however, offer some very rational suggestions on how this kind of poetry might be achieved. For one thing, he says, the poet must discard the language of Eliot, Pound, and Empson if he is going to get back to the absolute basics...