Word: coloring
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Dates: during 1940-1949
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...blue suit, he briskly took charge of all that remained to be done in Philadelphia. First, there was a group picture with the Warrens. Outside Room 808 were dozens of cameramen. Tom Dewey gave his orders: let the still-picture men come in first, then the moviemen, then the color cameramen...
...McPheeters, of the Navy's Bureau of Aeronautics, told a little about one such device now under development: a gadget that watches stars like a human navigator and steers the missile by them. It identifies the proper stars (from one to three) by measuring their brightness or their "color temperature." Then, guided by their relation to one another or to the center of the earth, it can keep the missile on its predetermined course...
Lobster on Niki Street. The CBS story had all the drama and color of an Eric Ambler mystery. Tall, blond George Polk, whose pull-no-punches broadcasts had angered the Greek government,† had been trying to reach the hideout headquarters of Leftist General Markos to get the guerrilla side of the story. His "contact man" was apparently an Athens flower vendor, who visited Polk daily for ten days before his death-but in the treacherous climate of Athens, Polk had no way of making sure whether he was dealing with Right or Left...
...paintings and drawings, done on the Riviera in 1946, had none of the nightmare violence that characterized Picasso's wartime work. Goats, nymphs, centaurs, children and satyrs, drawn loosely in dancing lines or painted with soft smears of cool color, sang and played pipes, swam, fished, ate dinner and slept under the trees. The one warlike note was a comic-strip series of sketches showing a duel between centaurs, which ended with the loser crumpled across a broken arrow and the horned winner looking downcast. The figures were almost all distorted, but never cruelly so. The surprising twists...
...film is black & white, not Technicolor; color feeds the senses and cloys the mind, and this is not a poem of sensuousness, but of sensibility. There is something approaching, if not quite achieving, absolute depth of focus. There is no pageantry and no ornament; the great, lost creatures of the poem move within skull-stark El-sinore-like thoughts and the treacherous shadows of thoughts. (Roger Purse's sets, as nobly severe and useful as the inside of a gigantic cello, are the steadiest beauty in the film. Next best: the finely calculated movement and disposal of the speakers...