Word: visualizing
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...ring of truth. She brought luminous photographs taken in China and Italy, because she figured out that there would be no outlet to play her films. Stephen N. Smith, on the other hand, thought for some reason that the bistro would be able to meet his massive audio-visual needs, bringing a videotape and CD, both of which were useless. The videotape sounds like it would have been great, though: Steve revealed that he’s made the “fourth or fifth round” of callbacks for The Real World: Las Vegas, and he brought along...
Vanilla Sky is innovative in many ways, particularly in the area of cinematography. Crowe’s direction provides the audience with a visual feast of sweeping exterior shots and creative camera angles, and the prevalence of dream sequences allows the director’s imagination to run wild. But in the process of breaking new ground, the film at times suffers in its departure from convention. The pacing is frenetic, and the disjointed nature of the narration results in a confusing unraveling of events. The movie raises too many questions for its own good, and is placed...
...falls short because the viewer fails to draw something from the experience of looking at her art. The watercolors are small and indistinct, the word bubbles are nearly impossible to read, and the background patterns don’t add substance to most of the pieces. There is little visual differentiation between the paintings and overall, they are not visual stimulating...
...years has been Harry Potter, unassuming boy hero of J.K. Rowling's fantasy series. Now that the first book--Harry Potter and the Sorcerer's Stone (Philosopher's Stone in the original British version)--is a movie, true Hogwartsians will return to the source and compare written and visual texts with the care of a New Critical scholar. They will find that the book was better--richer in mood, in thrilling melodrama, in joy--than director Chris Columbus' meticulous, stolid film...
...Perhaps because his main character is a photographer who began a still-life series in 2017 by shooting "objects put together bald, like a visual list," Joshi's novel reads more like a photomontage than a narrative. He jump-shifts between the voice of an unidentified narrator and Bhatt; another account comes from diary entries of a young woman smitten with the photographer. These abrupt cuts require careful attention. They also add to Joshi's deeper theme of the complexity of connections in life: particularly, where the relationship between nation and family begins and ends...