Word: boxes
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Dates: during 1980-1989
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...cardboard box sits incongruously on an antique coffee table in an ornate office at the State Department. On the top of the box is an inscription scrawled in red marker: FOREIGN POLICY KIT. FOR THE BEST DAD IN GOVERNMENT. Inside are a tiny American flag, some Band-Aids, dice, a flashlight, a compass, a pacifier and a box of Anacin. "Everything I need," laughs George Shultz...
...Secretary of State will need a whole lot more, of course. But his little box seems to symbolize a gentle, almost self-effacing approach that has helped Shultz settle into his role as the pointman of American foreign policy. In a methodical and low-keyed way, he has spent his first six weeks in office putting mortar between the crumbling bricks of U.S. policy. Outside thinkers have been summoned to help assess basic American goals around the globe. Seminars with the President and his aides have been instituted so that decision making will be less haphazard. And for the moment...
...woman, it does. She will be sitting alone, in an empty room, with her perfect body." Calvin Trillin, The New Yorker journalist and humorist, wonders whether this new ideal woman is only a media spin-off from the popularity of Jane Fonda and her bestselling Workout Book (see box page 75). "For the public good," Trillin says, "the more people who can lift the end of a car off the ground in case of trouble, the better. But I'm not sure I see any other advantages to it. Speaking as one whose muscles don't ripple, I feel confident...
Back in the palmy days of Hollywood, movies were almost always made in one shape, a box that was 1.33 times as wide as it was high. But in the early '50s, competition from television (whose screen shape is a narrower 1.23 to 1) brought box office desperation and technological innovation. Hollywood started turning out films in CinemaScope and other processes that virtually doubled the width of the movie screen. The point was to give audiences an experience that they literally could not see on their small screens at home. But when the studios learned to stop worrying...
Peter Keane, director of quality control for Home Box Office, admits that panning and scanning is "a series of compromises," but maintains that "the film redirects you. There is always a center." Says Tom McCarthy, senior vice president, post production, at Columbia Pictures: "Panning and scanning involves creative decisions." Unfortunately, those decisions are not made by the creators of the movie. Yet Richard Wolfe, 20th Century-Fox's vice president of engineering and video technology, insists, "My experience is that directors are not interested in the pan-and-scan transfer session...