Word: amidst
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Dates: during 1970-1979
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...Amidst the masses of rising sophomores shifting residences and changing lifestyles, there are a few currently living at the Quad who are content to stay right where they...
...from the road, the marsh and the sea to make a stand against the plant's construction. From the highway came the main phalanx, marching and chanting eight abreast and hundreds deep. Reporters and cameramen postured and scurried before them like the fiddler crabs that live in the marsh. Amidst the dust swirling up to the whirling blades of police helicopters hovering above, the demonstrators poured over the parking lot. They clapped and cheered as they saw a second line of demonstrators moving inland from the sea like a slow subway train. Stopping about every 70 yards, they seeded their...
...Lady Vanishes. Mention a Hit-chcock title and you'll instantly flash on to a scene that has seared its way into your memory: Joel McCray threatened by the enmeshing gears of a windmill in Foreign Correspondent; the assassin's gun poised in mid-air amidst the concluding strains of a London orchestra in The Man Who Knew Too Much; or the ultimate vision of the master, the boydless hand ripping away the shower curtain in the nightmare-provoker of all time, Psycho. This truism does not apply to The Lady Vanishes for some reason I can't quite fathom...
Prior detests this kind of "progress". In one of his paintings industrial wastes billow into the air amidst a peaceful pastoral setting. Another painting called "House on a Highway" shows a home whose yard is bordered by a chain link fence. A fragment remains of the old wooden fence that must have marked the boundary more picturesquely before the highway was built. A basketball lies forgotten by the fence--the yard is not a very nice place for children to play any more. Ironically, a billboard by a highway peaks out of another charming landscape exhorting us to "enjoy!" what...
Very little of this is apparent at first. Meaning in Resnais's film emerges only gradually, slipping out from amidst the debates about fate and free will, imagination and reality, to taunt and finally elude us. In the beginning of the film there is only the blue-green eeriness of the forest, where a man shoots a wolf-man, and then a tight-lipped Dirk Bogarde, as Langham's son Claude, coldly enunciating from the bowels of a courtroom the words which ironically frame the film: "Surely the facts are not in dispute." Resnais's theme is in part...