Word: visualizing
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...addition to its passive main character, "Dead Man" subverts the Western genre by relying on visual and sound effects, rather than plot events, to chart the progress of the character. The film is shot in black and white, an effect which "was built into the story from the moment I started imagining it," says Jarmusch. "A guy goes into a world that becomes very unfamiliar to him and the black and white allowed that kind of eerie, unfamiliar quality to be maintained." The use of black and white was necessary to further dismantle the Western rubric because "the color values...
...down and thwart the efforts of audience members to gauge the pace or predict the plot. The moments of blankness, which Jarmusch describes as "respiration," also serve to showcase Neil Young's virtuoso soundtrack. Young has created a raw, wiry sonic complement to the film, as compelling as the visual elements and the plot. Jarmusch described Young's goal as creating a "melody" to go along with the rhythm of the movie itself. Relying predominantly on guitar with very little accompaniment, Young's composition is like the voice of another character, eloquently commenting on the story and perhaps upstaging...
...successful in creating a cemetery and an artist's studio, with rain pouring outside the windows. A moving stage keeps the scene changes smooth, and is instrumental in keeping a complex play like this as lucid as possible. Unfortunately, the sound was not up to par with the great visual scenery of the play: A few lines were inaudible, and many more were impossible to hear for those sitting in the back...
...human happiness, democracy may be all very well; but for the visual arts, nothing beats 4,000 years of rigorous bureaucratic feudalism presided over by a lofty elite of scholars with a divine Emperor on top. Such is the lesson of the Metropolitan Museum's present exhibition, "Splendors of Imperial China: Treasures from the National Palace Museum, Taipei." Normally when those spavined cliches "treasure," "splendor" or "masterpiece" occur in the name of an exhibition, doubt rises: Methinks the museum doth protest too much. Not this time. In terms of sheer quality, this show can claim to be the greatest conspectus...
...task, on the face of it, is impossible: to epitomize this vast field of visual culture, across four millenniums, with a mere 475 objects--ink paintings and calligraphy, porcelain and jade, lacquer and bronze. And yet it works, for three reasons. The first is the often sublime beauty of the objects. The second is the coherence of its frame: everything comes from the Chinese imperial collections as they developed over the centuries; thus what we see is the slowly changing profile of the highest court taste. And the third is that the museum's 650-page tome of a catalog...