Word: dreamings
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Dates: during 2000-2009
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...squealing at the Empire told you that kids (mostly girls) who are the franchise's target audience know the difference between watching a TV movie at home and seeing their idols on a 50-foot screen. The smooth adorableness of teen dream Zac Efron is now available in giant economy size. The deep dimples of his costar Vanessa Hudgens now loom, in microscopic close-up, like the mountain crevasses in an IMAX travelog; a bear cub could hibernate in one of them. And the dance numbers - the real reason some adults don't mind a 100-min. HSM babysit...
...some of Astaire's formal inventiveness. As Gabriella sings the separation ballad Walk Away, as she leaves her house to head for an early course at Stanford, pictures on the wall slowly disappear to suggest that the life she's leaving behind may have been just a sweet dream. In Troy's separation song, Scream, his world goes literally topsy-turvy, rotating like the room whose walls and ceiling Astaire danced on in Royal Wedding. For Fred it was a lark; for Troy, the agony of a kid having to make his first meaningful decision...
...hundreds of millions of rural Chinese - until now second-class citizens in their own country - to head for the big city. China's urban dwellers may well wonder how they will cope as hordes of their country cousins appear on their doorsteps, seeking their piece of the Chinese dream...
...total world output in 1945, a proportion that it has never approached since. Crucially, the U.S. defined what it was to be modern. The U.S. was big shouldered and handsome, the U.S. wore nylons and lipstick, the U.S. enjoyed a level of prosperity of which others could only dream. In Manhattan '45, her love letter to New York, Jan Morris writes "The old brag biggest and finest in the nation more and more evolved into biggest and finest in the world. Battered and impoverished London, humiliated Paris, shattered Berlin, discredited Rome - the old capitals towards which, before the war, Americans...
...interprets the play in a ridiculously sexual and homosexual context where the central relationship is that between Romeo and Mercutio. With this subplot, Cappellani alludes to Shakespeare’s own use of the play within the play, as in “A Midsummer Night’s Dream,” where the commonfolk acting troupe, The Mechanicals, put on an unintentionally comedic version of “Pyramus and Thisbe” for the Duke’s nuptial celebration. The style in which Cagnatto wishes to present his play mimics the style of Cappellani?...