Word: directorate
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Dates: during 1960-1969
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...through a system based on tradition, hefty salaries, and stratospheric but delayed bonuses subject to costly forfeit if a man quits. Automen were understandably astonished two weeks ago when Semon Emil ("Bunkie") Knudsen, G.M.'s fourth-ranking officer, abruptly resigned as executive vice president and a company director. Even more stunning was last week's announcement that Knudsen had become the new president of Ford Motor Co., G.M.'s archrival in one of the toughest competitions private enterprise has yet produced...
...that "when market research was the fashion, creativity was pushed aside." He promised a new thrust by reminding his staff that "I've always been a copywriter." So have many of his counterparts at rival agencies. Last month Young & Rubicam (1967 billings: nearly $400 million) put former Creative Director Stephen Frankfurt, 36, in charge of all U.S. operations. Benton & Bowles, which recently lost its $12 million-a-year American Motors account to Wells, Rich, Greene, announced a creative shift two weeks ago. To succeed William R. Heese, 54, as president, the agency tapped Executive Vice President Victor G. Bloede...
...hero was a bent-nosed ex-pug who seemed too ugly even for character parts. His co-star was a round-eyed windup doll from Iowa whose debut had been a disaster. The director, an impoverished movie critic, made up the script as he went along, and shot much of the film by pushing his photographer around in a wheelchair, screaming instructions at the players...
...actors were Jean-Paul Belmondo and Jean Seberg, the director was Jean-Luc Godard, and the movie was Breathless, which in the eight years since its release has been generally accepted by critics as a landmark in movie history. It remains a typical example of France's nouvelle vague, with its theme of alienation, its air of improvisation, its lexicon of once-bizarre techniques-fast dissolves, ricocheting cuts, grainy camera work-that are now an accepted part of the moviemakers' craft...
Whether a Godard deserves a festival is a matter of some critical dispute. To Richard Roud, author of a worshipful new study of his movies (Godard; Seeker & Warburg), the director is "one of the most important artists of our time," worthy of comparison, with Joyce and Vermeer. Pauline Kael of The New Yorker calls Godard "the most exciting director working in movies today." On the other hand, Stanley Kauffmann of the New Republic describes him as "a magician who makes elaborate uninspired gestures and then pulls out of the hat precisely nothing...