Word: cinemas
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Dates: during 1960-1969
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...CINEMA...
...most popular course offered this summer is apparently Fine Arts S-76, the History of the Cinema, which is attended by more than 200 people. Also drawing more than 200 students is Julian L. Moynihan's English S-163, Forms of Modern Fiction. And at 8 a.m. each morning about 160 students have gotten up to hear Howard Mumford Jones, Abbott Lawrence Lowell Professor of the Humanities, Emeritus, lecture on the major American authors...
Inevitably, many of Expo's 3,000 movies are straightforward sales-promotion pitches, done with all the imagination of a headache-pill TV commercial. Russia and Israel, for example, may be a spectrum apart at the U.N., but at Expo, their threadbare cinema techniques are interchangeable. Israel pats itself on the back with its customary miracle-in-the-Negev approach. Russia shows a stupefying selection of dreary movies, including shorts featuring capering comrades at a Black Sea resort and bears playing ice hockey, which look like rejects from a FitzPatrick travelogue of the '30s. To make matters worse...
Stronger on imagination than realization, Expo's films offer the viewer the exploratory delight of watching a new kind of cinema in the process of being born. Much like the Fauves and Cubists of painting. Expo's directors and cameramen at their best seem to have found a new way of interpreting and reproducing the imagery of life. Much of the expertise has been expended on trompe-l'oeil techniques that clearly have no place in the commercial film of today, or even tomorrow. Yet such visual delights as Labyrinth and Kane's three-screened children...
This could be the big sleeper of the whole summer school curriculum. Realism and Abstraction in Cinema, 1896-1966, it's called. If you have no vigorous objection to watching movies for credit, this course is probably for you. Richard MacCann, of the University of Kansas Journalism School, runs the show...