Word: different
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Dates: during 1970-1979
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While it is inevitable that the secrecy, the downright deceit and the huge buildup from small beginnings in Viet Nam are bitterly remembered, the comparison between Angola and Viet Nam is alarmist and simplistic. For one thing, or so the Administration argues, the levels of aid differ enormously. In 1954, the year the French pulled out of Indochina, for example, the Eisenhower Administration asked Congress for $500 million to aid the region's anti-Communist fighting forces. Ford and Kissinger have assured Congress that the U.S. will not send advisers or troops to Angola, and Washington's goal...
Widespread poverty is a problem that afflicts all underdeveloped countries. Nonetheless, they differ among themselves so greatly in their economic promise that it makes more sense these days to divide the globe into five worlds instead of three...
Such an ability to record rhythmic and warmly insightful juxtapositions is the genius of Shahn's photographs. They differ considerably from most of the best photography done in America during his era; these are gay documents of a world that the more gravely-inclined have seen as lonely and tragic. The difference may betray a lack of seriousness that prevents Shahn's work from being ranked with truly great photographers like Evans. But serious analysis is only one photographic possibility; Shahn was simply interested in seeing things wonderfully...
...films presented by the Women's Film Circuit are among the finest feminist films today. They differ tremendously in vantage point, style and statement, but they have one common bond--they are films by women, for women. Hollywood's portrayal of women has always left a lot to be desired. For now, if women want to see a true image of womanhood on film, they'll have to do it alone. And if feminists want to understand themselves and others better, they'd do well to take Woman to Woman's cue and look beyond themselves...
...first sight, that this exhibition is strange. Eighteen statues of Diana standing on one toe and holding a crossbow, eight busts of Benjamin Franklin, 23 plaques of Robert Louis Stevenson, 20 lions crushing 20 serpents--they all seem redundant, somehow. They are not; each sculpture is in some way different from its partner. But they differ in very subtle ways--in the lie of the mane on the lion's neck, in the direction Franklin happens to be looking. Jeanne Wasserman and the staff of the Fogg set up this exhibit to explore these changes; a very well-trained...