Word: visualize
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Dates: during 1980-1980
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...poor Aussie with a quick wit. Laura doesn't fit: she is too thin and gawky, too smart and eager. In an attempt to see Laura's world through her eyes, Director Beresford turns the other girls into vaudeville minxes and betrays a weakness for the ingratiating visual cliché. But the film sparks to life when Laura falls in with-and into heroine-worshiping love with-Evelyn (Hilary Ryan), a beautiful, dark-eyed senior classwoman who is everything Laura hopes to become. In one lovely scene, Evelyn beckons the girl to join her in bed. They pull...
Recorded during a live performance in Providence, the tape is, in fact, a visual précis of One for the Road. Good shooting, good sound and dexterous editing (supervised by Ray Davies) make it not so much a companion to the record as a necessary adjunct: music that you can see. There could be a lot more of it to come...
...minutes of instruction. They return for the offertory, prayer of consecration and Communion. "Being included," Koch insists, "teaches the children more than 10,000 Sunday school lessons could." Koch's program, like the practice of the thriving Baptist Sunday schools, seems to bear out one fact: lesson plans, visual aids, outings are all well and good, but Sunday schools cannot flourish if parents do not go to church with their children. Worship has to be a family experience...
...unexampled leaps and spins (and combinations of the two), as if he saw in Baryshnikov the spirit of Paganini, who raised violin virtuosity to a demonic level, and of Rachmaninoff, who did much the same for the piano. The charm of the work is that it never becomes the visual equivalent of piano busting, a mere showcase...
...disappointment was as great as the hope. By 1930, Stalinist terror had set out to destroy all that was best in the visual culture of Russia: painting, sculpture, design, film. By 1950, the destruction was done. To this day the most brilliant moment of revolutionary aspiration in the history of Russian art remains not only unofficial but actively repressed within the borders of its own country. Last year the U.S.S.R. sent a mammoth consignment of modernist Russian art to the Pompidou Center's exhibition, "Paris-Moscow, 1900-1930"- while at the same time ensuring, by the threat of cancellation...