Word: cohn
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Dates: during 2000-2009
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...Charles E. Silberman in this examination of the past, present and potential futures of American Jews--one of the most thorough journalistic surveys of American Jewish life ever published. Actors who wound up in Hollywood got camouflage names whether they wanted them or not. While pioneer moviemakers like Harry Cohn, Samuel Goldwyn, Louis B. Mayer and Adolph Zukor retained Jewish-sounding names, they were "determined to avoid any hint of Jewishness in the films they created." Some notables avoided this identification so assiduously they seemed downright anti-Semitic. Walter Lippmann did so, refusing to become a member of (or even...
...friend, a film cutter at MGM, and lunches with him at the studio commissary. That afternoon she is lectured by Louis B. Mayer: "My dear child, you are going to be a star . . . I would rather you weren't seen with any of the lower echelon of employees." Harry Cohn, the caliph of Columbia Pictures, learns that Choreographer Jack Cole has pronounced a script for Ann Miller garbage. Cohn agrees, but demands, "What . . . does it matter to her? She's just a dumb broad with large thighs." Introduced to Kim Stanley, who was to be nominated for an Academy Award...
...floodgate of filth that's engulfed the minds and hearts and souls of America like nothing else ever has" -especially when the speaker is convicted savings-and-loan embezzler Charles Keating. It's a pleasure to watch Reems stalwartly defend his work against the ferociously righteous Roy Cohn (later to die of AIDS after a life of secret gay sex). What isn't so funny is that a Memphis jury found Reems guilty of obscenity for appearing in Deep Throat. "For the first time in U.S. history," narrator Dennis Hopper notes, "an actor had been convicted for merely playing...
Acting director Marjorie B. Cohn told The Crimson at the time that the outdated Fogg building would require renovations to its plumbing, electricity, and climate control system...
...print, as Cohn claims on her welcome mural, is a language all of its own—“with its own vocabulary, grammar, and syntax…poetry and prose”—we see that the reproduction of a work of art by any printed mechanism is in fact a translation, and therefore imperfect: a variation. In translation, the Ingres loses its chubbiness and cheerfulness but attains a sort of depth in its new black and white form that prefigures the transformation of depth of representation that would take place with the tension of photography?...