Word: cloaked
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...problem with the states rights defense. Ultimately it prevents or chills debate of conscience. The issues of racism or homophobia are subordinated to questions of jurisdiction. In this way, wrongs that are being done, prejudices which are being sanctioned, need never be laid bare. They remain hidden in a cloak of deception, mere footnotes to supposedly larger issues such as the sanctity of local autonomy...
...handled arms deals with Iran and funneled funds to the contras required a prolonged series of lies to Congress and the American people, the deception of U.S. allies, and keeping top Cabinet officials and perhaps even the President in the dark. Any policy that depends on such a suffocating cloak of deceit and deniability is likely to have something fundamentally wrong with...
...belly dancer Fatima's dance -- stoked demands for its suppression. As the American cinema grew from fairground fad to worldwide obsession, it seasoned its content for the broadest tastes: no nudity, no naughty words, no violence. And, until the case of The Miracle in 1952, no constitutional cloak. In that year, ruling on Roberto Rossellini's parable of a peasant woman (Anna Magnani) impregnated by a bearded stranger (Federico Fellini) whom she believes to be St. Joseph, the Supreme Court ruled that films were a form of expression deserving of the First Amendment shield...
...cloak was by Balenciaga; the dagger could come from anyone -- a bullfighter, a bellboy, a ballroom dancing partner. During World War II, Aline, Countess of Romanones lived a life of glamour and danger that Ingrid Bergman only played at in Notorious. Born Aline Griffith in Pearl River, N.Y., the former Manhattan model joined the Office of Strategic Services and was posted to Madrid in 1944, where she decoded messages at the American Oil Mission. The OSS called her Tiger. Her orders: to flush out Gestapo Chief Heinrich Himmler's special agent in the Spanish capital. The dark, lissome beauty moved...
...judge from Brecht's track record, putting spin on a familiar story was one of the surer ways of accomplishing this. Even when Brecht was ripping off no one in particular, he felt the need to cloak his work with the patina of plagiarism. According to Brecht's doctrine of the epic play, setting works in an unfamiliar and unsympathetic context allows the audience to absorb the message of the works rather than getting absorbed in the character and stories. If Andrei Serban's seminew production of Brecht's The Good Woman of Setzuan shows anything, it's that...