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The essential desire of constructivism -from De Stijl to the Bauhaus in Germany, and particularly with the Russian avant-garde in its flowering through the early years of the revolution-was to construct a beauty that could not be found in nature. Only one metaphor was allowed to intrude into...

Author: /time Magazine | Title: Art: Trends of the Twenties | 10/10/1977 | See Source »

I HAVE SEEN the future," French director Jean-Luc Godard seems to say in his latest film, Numero Deux (Number Two), "and it stifles." Like so many firebrand prophets of imminent revolution in the '60s, Godard is now wrestling with this decade's disillusionment. Ten years ago, with films like...

Author: By Mark T. Whitaker, | Title: From 'Breathless' to Aimless. | 9/30/1977 | See Source »

What a difference color can make. In this lush, slightly feverish Italian drama, the color photography is not merely the medium, it is a potent metaphor. In scene after scene, Cinematographer Ennio Guarnier frames the setting-turn-of-the-century Bologna and Venice-in rich, painterly soft focus, but his...

Author: /time Magazine | Title: Cinema: Hues and Cries | 8/15/1977 | See Source »

The post-Mao regime of Chairman Hua Kuo-feng had virtually rehabilitated Teng in all but name. Vilification of Teng had gradually turned into praise. Most compelling was the propaganda switch on his three famous 1975 treatises dealing with how to develop the Chinese economy, science and technology (see SCIENCE...

Author: /time Magazine | Title: CHINA: The Second Comeback for Comrade Teng | 8/1/1977 | See Source »

Radical Programs. Teng's second downfall two years later was the result of his dogged opposition to Mao's radical programs. These included turning over the universities to workers, peasants and soldiers and transferring scientific research from the laboratories tp the communes. Defending the Academy of Science from...

Author: /time Magazine | Title: CHINA: The Second Comeback for Comrade Teng | 8/1/1977 | See Source »

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