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John B. Manulis '78, the producer of the preview, said yesterday the film preview allowed more students to participate in advertising the production, an adaptation of John Dos Passos's trilogy, "U.S.A." The film cost about $300, he added...

Author: NO WRITER ATTRIBUTED | Title: U.S.A. Previews | 3/8/1978 | See Source »

...directive also reaffirms the list of dos and don'ts for American agents that was signed two years ago by President Ford. It sets no limits on a CIA practice that attracted heavy criticism during recent congressional hearings: the use of newsmen, students or clergymen as agents. Though the general policy is not to use them, the White House asserts that it did not want specifically to single out any groups for exclusion. But agents cannot interview people in the U.S. without identifying themselves as spooks. Nor can the CIA, using a seemingly innocuous business firm as cover overseas...

Author: /time Magazine | Title: Nation: New Orders for the Admiral | 1/30/1978 | See Source »

...films are a combination of art and politics, tragedy and comedy, theory and practice, rational and irrational, fiction and documentary. It is as if he is not satisfied with showing his subject from any one point of view. He's always shifting tenses, much like American novelist John Dos Passos, who strongly influenced Makavejev...

Author: By Talli S. Nauman, | Title: Dusan Makavejev: A Film-maker Teaches Film | 11/14/1977 | See Source »

...main plot line The Immigrants much resembles such other novels spanning the '20s as John Dos Passos's The Big Money, or F. Scott Fitzgerald's The Great Gatsby. Man is broke, but dreams of success. Man works hard, makes lots of money, seeks beautiful, high-status wife. Man discovers that success he finally gains leaves him, in the end, unfulfilled and unloved. The large balance in his bank account cannot ensure his emotional well-being...

Author: NO WRITER ATTRIBUTED | Title: American Dreamers | 10/13/1977 | See Source »

...more reminiscent of Allen Drury than John Dos Passes, it does present a complex narrative with surprising clarity. The Washington settings, from the Oval Office to the Georgetown salons, lend a nice air of authenticity. So do the script's lavish accounts of such Watergate minutiae as H.R. Haldeman's feud with Rose Mary Woods and Gordon Liddy's call-girl schemes. The heaps of dirt stuffed into the show amply convey the moral squalor...

Author: /time Magazine | Title: Television: High Soap Opera in D.C. | 9/5/1977 | See Source »

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