Word: exploiter
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Dates: during 1970-1979
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...resisting its being co-opted into the alienated conditions of the "entertainment" industry when distributed in capitalist countries. He intended the breaks in the film to provide the necessary opportunity for debate and analysis by the audience, not to create bite-sized chunks for exhibitors to exploit most effectively for high grosses. Unfortunately the Orson Welles-in collaboration with the distributor, Cinema of the Third World-has chosen to observe only an "intermission" between Parts II and III and to charge audiences twice for seeing the whole film. Splitting the experience over at least two days and including the slack...
...excuse (and an ingenious excuse) for Aldrich's larger concerns. For Lylah is not only a film about movies-it is a film about the making of a film about movies. The possibilities for fun within such a conception are endless-and I don't think Aldrich fails to exploit a single one of them...
...this University functioned ideally, these resolutions would be fine. However, nearly every case brought before the CRR arose from a student's perception that the University was being untrue to its stated ideals and was functioning in such a way as to support the war, perpetuate racism, exploit workers, or oppress tenants...
...important interests and influence, and a lasting settlement cannot be achieved unless the Soviet Union sees it to be in its interest." In the Pacific, "the U.S.S.R. has a vital strategic desire to secure herself and her territories against China." In Eastern Europe, the U.S. does not intend to exploit its ties of friendship with Communist nations in any way that would "undermine the security of the Soviet Union." (Nixon says that he will "ask the Congress to provide authority to extend guarantees to American private investment" in Yugoslavia and Rumania.) And in the vital field of limitations on strategic...
...tension between the two very different eras represented on stage is more painful to watch than can possibly be described here, and the creators of the musical have found an amazing number of ways to exploit it. Besides the score, there is the device of having the characters shadowed throughout the show by their former selves, wearing the glamorous old costumes and white-faced make-up. There are two bands, a rich Follies orchestra in the pit and a downbeat jazz combo for the party on stage. Choreographer and co-director Michael Bennett has blended the dance steps...