Word: formal
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Dates: during 1960-1969
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...Michael Stewart. "On the other hand, there is clearly the necessity to have some degree of persuasion by the four powers." The precise extent of such "persuasion" was left carefully undefined, and Washington braced itself for the arrival of Jordan's King Hussein, due April 8 on a formal visit designed to put forth the Arab views. Hussein's visit is the latest round in the diplomatic minuet over the Middle East that brought Israeli Foreign Minister Abba Eban to Washington in mid-March to outline Israel's position, and had Soviet Ambassador Anatoly Dobrynin shuttling back...
Nixon seems reluctant so far to consider a unilateral U.S. scale-down, worrying those who fear that he may lose an opportunity for lowering the level of the killing by insisting on a formal tit-for-tat agreement with Hanoi. Such critics of Nixon's seeming tough stance tend to overlook the fact that the President, after all, has reacted quite mildly to the renewed offensive. Though they may include policymakers within Nixon's inner circle, the President's detractors come from the Johnson Administration, notably former Defense Secretary Clark W. Clifford and Ambassador Averell Harriman. They are believed...
...tough talk was bluff. On his own campus, Hayakawa simply could not muster the strength to break the strike. The only glimmers of hope came when Hayakawa--through his face-saving negotiating committee--gave in to some of the student demands about black studies. And by the time the formal truce came last week, Hayakawa had dropped his most adamant previous stand--that all the student strikers be expelled...
Every moment of Renoir's La Marseillaise shows the idiosyncracies of the men of the Revolution, the variety of their personalities. From the beginning the plot and the Revolution are advanced by the actions of specific characters. Not only on a script level, but more vitally in Renoir's formal style, so the actions of each man make the Revolution: breathtaking camera tracks sum up their actions into a single forward motion, and the characters are thereby swept into the world of the film, the historical movement that was the French Revolution...
Toni used relatively restrained camera movements, at most slow pans (excepting one frightening tract), to create a world of permanence--the land, into which all the characters' actions flow. This formal method realizes the plot to give the film a feeling of fatality an fixity. The world of La Marseillaise is a world of motion. But the moral structure of the films--Renoir's view of the place of personal feelings and actions in the world--is the same. Both films are created, closed works, the setting of La Marseillaise being as purely evocative (again, one couldn't draw...