Word: distrusters
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...than on their fascinating social energies--the excommunications and other rites. The principal weapon of their revolution, he says, was scandal; this is how the bourgeois revolts against the bourgeois. The Surrealist attack "on the notion of work, that cornerstone of bourgeois civilization, as something sacrosanct," and the Surrealist distrust of the rational may lie behind Bunuel's refusal to evaluate the Surrealist's work...
Ferre supporters made no bones about trying to exploit black distrust of Cubans. Black Radio Announcer Les Brown urged his WEDR listeners to form "a bolt of black thunder" at the polls. He had a taunt for any Cubans who tuned in: "You stole our jobs and you're not going to steal our city." The most dramatic display of raw enmity came when City Commissioner Joe Carollo went on TV to endorse Ferre and abruptly changed his mind, charging a visibly stunned Ferre with running a "racist campaign of hate...
Given this proclivity of filmmakers, the thought of a movie today about revolution in the Third World can inspire distrust. Not that revolutionaries are inherently wrong-headed or their cause unjust. Political movies, hewing as they usually do to the most simplistic line, tend to sway only the true believers and leave the skeptical dead-set in their beliefs. This is why Under Fire, the latest of this genre, a film about the Nicaraguan revolution, has to be approached with skepticism...
...Journal-Constitution, "the press might better spend its time contemplating why it was not informed and in vited." The St. Louis Globe-Democrat volunteered a blunt explanation: "... the television networks' antidefense bias." Declared conservative Columnist Patrick J. Buchanan: "If senior U.S. commanders running this operation harbor a deep distrust of the American press, theirs is not an unmerited contempt...
...there a less "feminine" woman artist of her generation? Probably not. Even Krasner's favorite pink, a domineering fuchsia that raps hotly on the eyeball at 50 paces, is aggressive, confrontational; and when her line evokes eros, its grace is modified by a rough, improvisatory movement, a distrust of quick visual acceptance. Sometimes, as in Green Fuse, 1968, or Rising Green, 1972, she refers to the palm-court, winter-garden atmosphere of late Matisse; yet the shapes are too cutting to stand as undiluted emblems of luxury. Critical of the world, she is just as hard on herself, harder...