Word: constant
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Dates: during 1960-1969
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...extensive passage from Karl Menninger about the effects of "repressed maternal hatred" on the unwanted child: "This may show itself in a determined campaign or in a provocative program of attracting attention by offensive behavior and even criminal acts. Still more seriously it may show itself as a constant fear of other people or as a bitter prejudice against individuals or groups, through deep-seated, easily evoked hatred for them.... The importance of this factor in the psychology of war is even greater, in my opinion, than the economic factor arising from the increase in population.... The unwanted child becomes...
...know how good we have it. Everyone at Harvard and Radcliffe should be obliged to spend at least one week a year at Yale, so that all petty problems and minor irritations with Cambridge fall into their proper perspective. The MBTA, the Bick, even Cambridge's foul and constant precipitation have never been as dear to me as they were after three days of Bull Dogs...
Abel is a good advertisement. For nine years he ran a network of KGB spies in the U.S. so skillfully that, when he was finally caught, CIA Director Allen Dulles wistfully observed: "I wish we had three or four like him inside Moscow right now." Abel kept in constant touch with the Kremlin from a studio whose windows, bristling with short wave radio antennas, directly faced the Brooklyn headquarters...
...here among us, not among you whites. America should not be called 'the New World' any more; it should be called 'the Old World.' Its time is over." Geraldine Chaplin spoke of her father: "Certainly I'm afraid of my father. I feel this constant reproof, this constant comparison. I feel that only when I'm no longer in his shadow, when I'm no longer afraid of him, that only then will I finally be able to do something myself." Alfred Hitchcock gave one of the less-known reasons...
Like Lang's, Ulmer's work tends to combine shots in constant motion, the camera slowly dollying in or out. Godard says that the director's decision to move the camera is a political act; for these greater film-makers, Lang and Ulmer, it is perhaps applicable that moving shots represent decisions of morality in terms of the dynamic relationship between foreground and background. In addition to Ulmer's command of composition, lighting, and occasionally dazzling montage, is his ability to translate these subtle aspects of morality into cinematic spectacle...