Word: closed
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Dates: during 1960-1969
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...incident, this one on Saturday night. Nearly 5,000 youngsters massed behind red banners, though the majority had come to watch rather than attack. The cry was "Stop the trial!"?the Chicago trial of those accused of conspiracy in last year's Democratic Convention riots. The mob got close enough to the Justice building to throw stones through windows and to substitute a Viet Cong standard for an American flag in front of the building. Again the police were circumspect, and troops stayed out of the action. New Mobe marshals tried to make the mob go back, actually interposing...
THOSE defiantly straight lyrics from the ballad Okie from Muskogee were rendered at the Washington Monument on Veterans Day by a close-cropped country music group from rural Virginia. They were met with roaring approval by a Freedom Rally crowd of 15,000 proudly self-proclaimed "squares." Swelled in response to the President's TV appeal for "the silent majority" to speak up, the cheering anti-Moratorium demonstrators represent a fresh force in the national controversy over the war. They praise Richard Nixon and Spiro Agnew, support the Government's course in Viet Nam and flaunt their patriotism...
...another ambition: securing a place in Philippine history. Though a friend of the U.S., he feels that Filipinos must find their own place in Asia. Marcos will soon begin to renegotiate U.S.-Philippine trade and military agreements; perhaps anticipating his action, the U.S. last week announced that it would close Mactan air base in the central Philippines. He also hopes to expand his country's economic and cultural contacts with Communist nations. Most of all, he wants to encourage a sense of regional interdependence in Asia. Says Marcos: "I'm looking forward to an Asian forum...
...close-up of Jurieu driving in a car, the barest amount of background road visible in the window behind him, pans across the front seat to the close-up face of his friend Octave, grimacing nervously. Renoir cuts to a distant high-angle; the car drives off the road into a ditch. Renoir cuts to a frame three-quarters filled by waving grass: it's impossible to say whether it's a low-angle shot and the characters are about to appear over its edge, or whether he's shooting a hill, or indeed where...
WHAT SUSTAINS the sequence and the film, unifying them and making them continuous, is a sense of violent personal action. Even the most confusing tracks are extremely dynamic, Renoir's cutting presents a rapid series of events whose emotional strength and content vary widely. Renoir cuts into close-up, shoving the character's half-dark faces into ours; he cuts away to hold them in long shot for extended scenes. But always his characters are acting, pushing, crying out, confused but vital...