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Arens, who teaches at the State University of New York at Stony Brook, knows he is taking on the whole profession of anthropology. He feels that the profession is wrong, misled by generations of gullible researchers and inventive travel writers. In fact, he says, cannibalism is a myth used by the West to justify colonialism, slavery and-in the case of the Aztecs-genocide...

Author: /time Magazine | Title: Behavior: Do People Really Eat People? | 10/22/1979 | See Source »

...House. At the same time, Nixon said, Rogers was one of the toughest, most cold-eyed, self-centered and ambitious men he had ever met. As a negotiator he would give the Soviets fits. And "the little boys in the State Department" had better be careful because Rogers would brook no nonsense. Few Secretaries of State can have been selected because of their Presidents' confidence in their ignorance of foreign policy...

Author: /time Magazine | Title: Special Section: SUMMONS TO POWER | 10/1/1979 | See Source »

...MBTA is extending the Red Line three miles northwest to the Alewife Brook Parkway. Total costs for the project, scheduled to be completed in May 1984, are estimated at about half a billion...

Author: By Robert O. Boorstin, | Title: MBTA to Rule on Subway Agreement Today; Harvard May Receive $1 Million for Work | 9/10/1979 | See Source »

Meetings with Remarkable Men is the hip '70s answer to Hollywood's oldtime biblical kitsch. Once Cecil B. DeMille re-created the glory days of Moses in glorious Technicolor; now Director Peter Brook is giving the same treatment to G.I. Gurdjieff (1877-1949), the philosopher whose Zen-like quest for spiritual truth has greatly influenced the modern human-potential movement. Though The Ten Commandments and Remarkable Men are theologically antithetical, they are cinematic first cousins. Both films suffer from an excess of piety, a shortage of humor and an infatuation with desert vistas. Still, DeMille's muscular...

Author: /time Magazine | Title: Cinema: Hot Air | 9/3/1979 | See Source »

...Though Brook has brought more new ideas to the stage than any other contemporary director, his film-making skills remain primitive; even his adaptations of his own brilliant theater productions (King Lear, Marat/Sade) have been flat. Here he is hobbled by lapses in continuity, fake-looking studio sets and a multinational cast. The scenery, much of it shot in Afghanistan, is breathtaking, but the photography is routine. What is needed is some sort of theatricality-if not the forthright vulgarity of DeMille, then at least the romanticism of David Lean. With its incongruous mix of radical content and stodgy style...

Author: /time Magazine | Title: Cinema: Hot Air | 9/3/1979 | See Source »

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