Word: flickers
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United Hostility. Many a bright young undergraduate sets the world ablaze with a precocious book only to see it flicker out in a year or two, and nothing is heard from him again. Buckley has fed the flames and avoided obscurity because he had the sustained drive-and also the money. Thanks to $125,000 from the family plus $300,000 he raised elsewhere, he was able to start National Review in 1955, a publication that provided him with a voice. It also served as a rallying point for other conservatives. To Review came Russell Kirk and Frank S. Meyer...
Pious platitudes like "message" and "communication" flicker like votive candles as Dylan spars with journalists, dodges hordes of adoring teeny-boppers with majestic modesty, picks petty backstage fights with anybody in sight, and freezes into zombie-like immobility as soon as all backs are turned. And yet there are also shots of Dylan onstage, binding his audiences into an almost tangible silence. Here the camera bears witness that the Dylan presence, despite its artiness, commands an irresistible fascination for the young...
...pathetic moments with sight gags. But Godard does sometimes let his camera stay fascinated on one face. During these sequences, the camera doesn't move away from the face to explore or make analogies with the outside. It's as though the camera has a straight face. Catching every flicker of a character's eye, every turn of his head is comment enough. The camera watches without explaining...
Brazil's many and mighty rivers offer a wealth of power-producing capacity, but less than 10% of the country's hydroelectric potential is utilized. Even major cities suffer from a severe kilowatt lag. In Rio de Janeiro, lights often flicker-and sometimes die-and Säo Paulo's massive industrial complexes are perennially pestered by a shortage of juice. Prospects are brighter: a giant project abuilding in south-central Brazil will help illuminate some of the country's dark corners and produce a stream of electricity for its cities...
Expo 67 is Celluloid City. In nearly every pavilion of Montreal's spectacularly successful world exhibition-more than 18 million visitors so far-the viewer is the ultimate target of a projector. Sometimes film flutters futuristically above or beneath him; sometimes images lurk and flicker all around him, caroming off walls, whirring on blocks and prisms, on hexagons and cruciforms. Sometimes movies are even mounted on a plain old rectangular screen-but everywhere there is film, film, film unreeling...