Word: mirrors
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Despite some genuinely inventive work with a one-way mirror, the last half of the film is grade Z gothic explicitly and ludicrously prefaced by a shot of Nero reading Poe. The story defines a specific supernatural cause-a young nymphomaniac (Italian gothic being more open than the American kind) dead these thirty years-for the hero's obsessions and the events that keep animating the house. Instead of taking quantities of diverse experiences, and showing us the ways we process this material and the ways it obsesses us, the film turns its cultural matter to sensationalist ends, and obstructs...
From Aesop to Orwell, fables have been populated with animals; yet, the animals have simply been people in a transparent disguise. The fable is the mythic mirror of man, and what he sees there is not his face but his nature...
...Story Theater, Director Paul Sills and his enviably talented company have set this mirror on the stage and its reflecting images constitute a hilarious allegorical romp. Story Theater is a mode of dramatic presentation as well as a title. The idea is to illustrate texts, usually myths, legends and folk tales, with a limited use of words. Sills, a co-founder of Chicago's Second City Company, calls it "ways of speaking with your body." In this production, largely drawn from Grimm's fairy tales, the stories follow a straight narrative line, but veer off at every other...
Late in the film we see a close shot of Anne Wiazemsky, followed by a shot of her reflection in a mirror. The narrator is attempting to analyze photography as a class weapon, specifically the weapon of the bourgeoisie in its fight against the proletariat. Photography, it is claimed, serves two reactionary functions: first, it is used to identify class enemies, and second, it disguises the world. Replacing the novel and painting as paradigms of realistic portrayal, it re-establishes the idea of "mirroring " the world. Analysis of the world "mirrored" is substituted for analysis of objective conditions...
...Mirror Image. The play is not against Communism but against tyranny, a condition that subsumes all isms. Nonetheless, it is a fierce rebuke to all those shallow-thinking fantasts who believed, early and late, that the Russian Revolution heralded a new dawn for mankind, as epitomized by Lincoln Steffens who said, "I have been over into the future and it works." Solzhenitsyn shows that life in the Soviet Union has been precisely the reverse. It is the mirror image of that abysmal past from which man has been trying to free himself for thousands of years: the enslavement of mind...