Word: visualize
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...Good Old Days." The most inventive of current directors, Huston knows as much about visual storytelling as any living man. Yet he has no weakness for the visual wow. He can contrive unforgettable images such as Robinson's bestial lolling in the bathtub (easily the most efficacious tub shot in movie history) or his death under Bogart's bullets, as obstinate as the rearing snake he suggests. But such images are never merely "pictorial" or "effective." Huston's style, so transparent that it would be very hard to describe, is unimitative and inimitable. It stamps Huston...
Manhood Regained. Instead of smelling out his mates and attacking them with bites, as Mr. Cain's earlier heroes did, Jack never once smells a girl; he responds to visual appeal. It is, in fact, at the point that he does not respond to it-when he has been riding the rails as a hobo for some months and a Petty girl strips and wiggles for him in a passing compartment -that he realizes he will have to do something (i.e., steal) to regain his manhood. The emotional crisis is at length resolved by an oilman's wife...
...pioneers of a latter-day science called remedial reading. Her "kinesthetic method" works on the theory that reading difficulties occur most frequently in people who lack the ability to summon up a mental picture of the way a word looks. She finds that women have more visual ability than men, and that word blindness is 60 times more common among...
...compensate for a lack of "visual cues," the kinesthetic method supplies tactile ones: her students begin by tracing a word with their fingers until it can be written without a model. They learn only the words they need for the "stories" she has them write. After these stories are written, she has them typed so that the proud author learns to recognize his words in print. Once a word is learned, the tracing model of it is stowed away in a "dictionary box" for future reference. The word must never be copied from the model; that would involve distracting...
...Olivier is doing for Shakespeare-and for those who treasure or will yet learn to treasure Shakespeare-is certainly among the more valuable men of his time. In the strict sense, his films are not creative works of cinematic art: the essential art of moving pictures is as overwhelmingly visual as the essential art of his visually charming pictures is verbal. But Olivier's films set up an equilateral triangle between the screen, the stage and literature. And between the screen, the stage and literature they establish an interplay, a shimmering splendor, of the disciplined vitality which...