Word: visualization
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Dates: during 1970-1970
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...more than a curiosity, however, Ma Nuit Chez Maud achieves its power through an aesthetic structure vastly more engaging than mere portraiture. Its first-person narrative frame forces you to share the experience of Jean-Louis (Jean-Louis Trintignant) through his visual point of view (also brief interior monologues), subtly builds up a tension between your sensibility and your experience of his, and finally forces a dialectical confrontation in sequence after sequence with the ultimately desirable Maud (Francoise Fabian), where his choices directly thwart your inclinations to act through him. Rohmer uses this audience identification with the human reality...
...Visual Aids...
When people have been deaf since birth, they often cannot reproduce speech because they have never heard sounds. To help them learn to speak, Ohio State University's Bio-Medical Engineering Coordinating Committee has developed a device called a visual vocoder that translates sounds into patterns of light. Soon to be used to teach children at a state school for the deaf, the machine features a display board containing 40 vertical rows of twelve lights each. Words spoken by a teacher into a microphone are converted into lights that march across the board from right to left, forming...
...direction, by Bob Rafelson, leans toward the mediocre. Rather than devising a consistent visual approach to the material (and surely there was one to be found), he tries a lot of things-some of which work, many of which do not. Much too often he falls back on photographer Laszlo Kovacs' repertoire of American scenic vistas to punctuate scenes-a device that seems intended, for whatever reasons, to invite comparisons with Easy Rider. Occasionally, Rafelson cuts to moments back and forth in time; this invites comparisons to another, thematically similar American film, Richard Lester's Petulia -comparisons which Five Easy...
...young freak audience that finds Robert Crumb's Head Comix and Felix the Cat less than fascinating, and the traditional Dell and Marvel labels absolutely boring. All three assume an acquaintance with hard drugs and are only formally connected with their heroic predecessors. More than surrealistic, gross visual explicitness washes each frame with a desperate finality. Where the cover of Felix the Cat shows Felix and his girlfriend cuddling, Honky Tonk depicts a burly monster wearing spiked knuckles and attempting to recover from an axe blow in the head, and that's just the beginning of the ooze. The imagery...