Word: viewing
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Dates: during 1970-1970
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...against disruptions within the university, a greater migration of scholars out of the university and into research foundations, a sharper distinction than ever before between "service," and scholarly institutions, and the evolution of a new kind of undergraduate education for those students who demand "relevance" -students who, in his view, do not belong in college anyway...
...whole, all these efforts are well thought out and well worth reading. Each one represents the view of a different man, in a different discipline, and usually in a different institution from all the other contributors, with a unique viewpoint. If any criticism can be made, it is that the more radical of the contributors have chosen to indulge in theatric, rather than in a systematic critique of the university, and that certain of the administrators represented here have written in vague generalities more appropriate to a president's annual report or the position paper of a Senate candidate than...
...what extent does Antonioni reveal his perception of the city through Mark's eyes? The theft of the airplane is foreshadowed by several earlier point-of-view shots. Mark sees a police helicopter before he's busted, and several planes and airline posters before he finds the airport. If we take this establishment as Mark's point-of-view, it partially justifies the theft in terms of the character. The attraction of his eye to airplanes could indicate a basic recurring dream, or even knowledge based on earlier experience (i. e. he knows how to fly-an implausible plot point...
...Open Theatre love scene directly before, the line was a howler. Antonioni claims it referred specifically to the desert, and the nature of the establishing shots confirms that. Abstracting the line from the absurdity of its context, the three-shot sequence extends the motif of unestablished point-of-view serving to unify the perception of director and characters. Mark and Daria see the desert through Antonioni's camera-eye and experience, however simplistically, a transcendental and maturing emotional response...
...Daria's tendency to retreat into self-gratifying illusion when faced with actual degeneration, thereby failing to deal with society on its own terms, as a revolutionary. Like Blow-Up, there is some doubt whether Zabriskie Point projects hope or total pessimism. Given the frequent shifts in point-of-view and Antonioni's tendency to fuse himself with his characters to carry them to new experience, the ending operates better as a fantasy specifically given to Daria. As a vision implanted in the girl by the director-God, its constructive nature remains unqualified. Daria is wiser for it-not further...