Word: detailing
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Dates: during 1960-1969
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...facts, leaned heavily on the color of straw hats flying, placards pumping and delegations drowning out one another in a near unanimous renomination of Calvin Coolidge. Then, few Americans ever got a chance to witness a convention; today, millions watch the spectacle on TV. As a result, though colorful detail is still an important element in good reporting, it is only the beginning of the reporter's search for what really happened. That search may mean bringing greater knowledge and understanding to a scene that the camera merely records, or seeking out the facts and drama not visible...
...mistaken another corpse for Hitler's, at first buried the two bodies, but unearthed them again when a Soviet counterintelligence officer had second thoughts. On May 8, a team of Russian forensic experts performed autopsies in a Berlin hospital mortuary. Their full reports are reproduced verbatim in grisly detail that even notes the discovery that Hitler had only one testicle. Glass splinters, apparently from poison ampoules, were found in the mouths of both bodies. There were no visible gunshot wounds-although part of Hitler's cranium was missing-and "the marked smell of bitter almonds and the presence...
...that the audience is left with a feeling of simultaneous movement toward action and away from it. At the same time that we move to a higher vantage point with a wider angle of vision, we are jerked away from the luxury of watching action in sharp focus detail. The effect is one of ultimate suspension, in every sense of the word, and the greatness of the ending is a consequence of the perfect optical realization of attitude and theme...
TUESDAY NIGHT AT THE MOVIES (NBC, 8:30-11 p.m.). Freud (1963), starring the late Montgomery Clift in one of his major roles. John Houston's intelligent direction dominates, though the picture is inadequate in detail and at times quaintly elementary...
...which its savage, whimsical, passionate people still cling close to the earth. The scene depicts the farm bought by his father, a Barcelona goldsmith, at Montroig, a coastal village in Catalonia. For all its literalness, the painting is anything but realistic. By its microscopic stylization, it turns each detail, including the lizard and snail in the foreground, into a symbol. "I wanted," recalls Miró, "to penetrate into the spirit of objects. I realized the cubists had made a great revolution, but it was strictly a plastic revolution. I wanted to go beyond the plastic aspect...