Word: abstractedly
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Dates: during 1960-1969
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...best on "Tobacco Leaves," a song that Miss Bavan did well. Perfectly-paced musically by Ivers, the song had a near blues-tempo, created by a softly rushing rhythm section and featuring some quivering solos on harp and sax. On "Gentle Jesus," another complex piece that switches from abstract dissonances to a version of swing, Ivers achieved a synthesis of blues and jazz on Paul Butterfield's In My Own Dream model...
...fantasy lives. Several of the scenes, and Hoffman's part itself, recall his film role as a social dropout in The Graduate. Though the audience never sees him painting, Jimmy is an abstractionist and a dud at it. He is a glutton for humiliation. As "the only abstract painter in the Village who isn't getting laid," he keeps steady dates with a prostitute (Rose Gregorio) who can't refrain from telling him that her other clients are more sat -isfactory in bed than...
...doesn't translate the poetry into visual language. Instead he substantiates it. The words are arranged in an abstract, somewhat organic form, that relaxes appropriately into an almost-horizontal at the end of the quotation. The letters deviate from typographic perfection to express something very human. Outlined in black ink, they graduate from yellow-green-yellow through yellow-green to a green "sea," composed with curlicue serifs which suggest wave crests...
...Nixon occasionally attends Baptist church services with Graham, and one of the President-elect's few public statements on religion was written for Graham's monthly magazine Decision in 1965. "Some of our voices in the pulpit today," Nixon wrote, "speak too much about religion in the abstract, rather than in personal, simple terms. More preaching from the Bible rather than just about the Bible is what America needs." Nixon also described religion as "the true fountainhead of America's strength. I have a profound conviction that the whole national experience of our people, the extent...
...ultimate respect for the audience that finally affords everyone connected with any film the huge pay-off that justifies the slow process of shooting and cutting a dramatic narrative. But the film-maker's decision to put his cast through hell, perversely moral though it may be in the abstract, is supremely selfish. This cannot be divorced from the making of a first film any more than frame composition or cutting...