Not exact matches
High stakes duly established, Villeneuve, production designer Dennis Gassner and genius cinematographer Roger Deakins (if he doesn't finally win an Oscar for this, the film industry is truly blind) take full advantage of the mega-budget that franchise filmmaking provides to
craft some of the most striking visuals ever put on film, building on Scott's ruined future
in ways that — ironically given the themes of the movie — feel absolutely
real and
lived in, even as that world is occasionally revealed to be less
than authentic.
Readers want a world created that is far more
real, engrossing and significant
than the one they
live in — created: evoked, conjured up, built by sustained
craft and inspiration into something they can happily inhabit and return to for subsequent rereading.
I mean this is the stuff you would see
in a linear action / adventure game by Naughty Dog (Who's next game will probably better
than real life) where the main path is hand
crafted and the vistas are just...
Feminism proposed two alternative sets of criteria between 1970 and 1990:
in the 1970s, the first —
in whose development Schapiro participated — challenged the formalist canon for its exclusion of so much political narrative, and even formal content and materiality, and proposed alternatives that looked to
craft, costume, folk art, surrealism, the
real,
lived experience, and the body; the second, developed by deconstructionist feminism during the 1980s, challenged the first for its essentialism and looked back to aspects of modernism other
than those promoted by Greenberg, namely the fragmentary, the filmic, the appropriational, and the disruptive aesthetics of Brechtian distantiation.