Word: directorate
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Dates: during 1960-1969
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...consoles will be useful for math, chemistry, and some physics problems, and Edward T. Wilcox, director of General Education, has said that a new Gen Ed corse in computers will be offered next fall...
Geographical Pattern. Anti-business sentiment on campus varies. It is strong in the Ivy League, weaker in the Big Ten and in the South. Much of it has been generated by the war in Viet Nam. Northwestern Placement Director Dr. Frank S. Endicott points out that "business has been identified with the war for supporting it, and some students say for causing it." Thus students react against such corporations as Dow Chemical, whose napalm epitomizes the war. Even here the reports have been disproportionate; Dow is doing well with its recruiting (TIME, April...
Bergman does not mean his story to be taken solely on the literal level. Von Sydow is also the Creative Artist beset by the bourgeoisie; the island is a metaphor of man's tragic isolation from :he mainland of humanity. Though he has glaring faults as a scenarist, Director Bergman is supreme in handling us troupe; the actors, like Sven Nykvist's phosphorescent photography can ender reality and surreality without missing a heartbeat. Von Sydow is gothically brilliant as the madman; Ullman's ragedienne reinforces her position-already secured by Persona-as one of Scandmavia...
Aspic was almost as cursed as Eberlin. Director Anthony Mann died before it was finished and Laurence Harvey took over, maintaining the film's tense, glossy style. But the Mann-Harvey combination could not quite cope with Aspic's thin and often incoherent content. No one in the film is properly motivated; nearly everyone is unremittingly evil. For the viewer, as for Eberlin, there is no one to trust...
...FILM about progress--physical, social, and technological--Stanley Kubrick's huge and provocative 2001: A Space Odyssey remains essentially linear until its extraordinary ending. In the final transfiguration, director Kubrick and co-author Arthur Clarke (Childhood's End) suggest that evolutionary progress may in face be cyclical, perhaps in the shape of a helix formation. Man progresses to a certain point in evolution, then begins again from scratch on a higher level. Much of 2001's conceptual originality derives from its being both anti-Christian and anti-evolutionary in its theme of man's progress controlled by an ambiguous extra...