Word: contente
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Dates: during 1970-1979
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...Essay "The Politics of the Box Populi" [June 11], Lance Morrow asks, "What is the political content of Mork & Mindy?"He should realize that even now, Morkese is slipping past the international dubbers into the languages of every tongue and tribe. Today's young viewers may some day meet in the U.N. with a fork-fingered felicitation and a "Nanoo, nanoo...
...Revolution that focused the energies of Soviet art. The outsiders now became insiders; their opposition to the old order and its tastes was crystallized on a political level that, as artists, they could enthusiastically serve. But they were not content to be dandies like Marinetti. They wanted to construct. Hence their special relationship to the young Communist state. Today no revolutionary government that had just seized control of a vast, economically foundering country would bother with artists or art schools. The U.S.S.R. did so after the Revolution, thanks to two circumstances that hold true in no modern capitalist state. Print...
...John Paul II made his historic homecoming to Poland earlier this month, hundreds of Western journalists covered the trip as they would any fast-breaking major story, constantly revising and updating their reports as events unfolded. But their Polish counterparts had no such need for speed and flexibility. The content of their stories-and the number of accompanying photographs -had been largely dictated by the Polish Communist Party's Central Committee weeks before the Pope arrived...
...auteuristic attitude has been apparent in a number of his films: Sleeper, Love and Death, Annie Hall and, especially Interiors. More and more he has been concerned with not only the thematic-interpretive aspect of the film narrative, but also with specific cinematic devices which convey the film's content and message in a cinematic way. Accordingly, Interiors marks the crucial point in Allen's directorial evolution, expressing much of the script's meaning through purely auditory/visual means instead of via dramatic situations, mise-en-scene, dialogue and acting. Like Chaplin (in A Woman of Paris ), Allen, too, decided...
...major expedient by which Allen transforms mise-en-scene into mise-en-shot (i.e., the kinesthetic interaction between the camera's mobility and the movement of objects or characters within the shot). The tracking camera ideally relates to the theme of this film, merging into the film's content. If any environment can be epitomized by incessant and omnipresent movement-both physical and psychological-then that locale must be New York. As a New Yorker (perhaps even more as a Brooklynite who observed the "pulsating" panorama of Manhattan from the opposite bank of the East River), Allen captured the sense...