Word: visualizing
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Cartoonists from Jules Feiffer to Garry Trudeau have doubled as playwrights, for understandable reasons: both crafts use dialogue and visual narrative, and in both the best humor is rooted in personality. Lynda Barry, whose weekly comic strip Ernie Pook's Comeek appears in 55 newspapers, shows that her truest metier may be the stage in THE GOOD TIMES ARE KILLING ME, a sometimes campy yet mostly poignant off-Broadway memoir of blue-collar life in the '60s. The plot crams in far too much -- infidelity and divorce, the random death of a child, teen sex, Volare, bygone rock dances...
...Rose, lead screamer for Guns N' Roses, worries about his image -- the visual one, anyway. Concert promoters in Missouri are suing him for throwing a tantrum and sparking a riot after he spotted a fan videotaping him. A week later at a concert for 20,000 fans,Rose showed up two hours late...
...documentary like Paris Is Burning as they do for admission to any superspectacle. Second: Carolco has nearly made back its T2 investment by selling off theatrical, videocassette and pay-TV rights around the world. Third: the idea is to put the money on the screen. T2, with its mercurial visual wizardry that leaves audiences oohing, does that and then some. And finally: Cameron's previous trio of popular, dazzling fantasies (The Terminator, Aliens, The Abyss) reveal him as an artist-entertainer whose pictures deserve to be judged not on their budgets but on their merits. That is the only bottom...
Since this movie demonstrates Clover's point, and since it places that point in a context that is satirically aware of the violent and depersonalizing traditions of our visual popular culture, it just may be that Thelma & Louise is in fact better than any of its exegetes have made it sound. It remains the most intriguing movie now in release. No other cheers one's argumentative spirit, stirs one's critical imagination, and awakens one's protective affection in quite the way Thelma & Louise does...
Romare Bearden (1912-88) was one of the finest collagists of the 20th century and the most distinguished black visual artist America has so far produced: the only one, perhaps, who rivaled in his own time and field the achievements of Ralph Ellison and James Baldwin, Alvin Ailey and Arthur Mitchell, Earl Hines and Duke Ellington in theirs. His retrospective at the Studio Museum in Harlem is an exhilarating show marred by a sloppy catalog. This will not matter too much to the audience the exhibition will acquire as it moves around the museums of America, ending...