Word: frame
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Dates: during 1960-1969
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...feels Eisenstein's intelligence at work in every frame of the film. What is most fascinating about Potemkin is ultimately very individualistic. It is the virtuosity of the director. The drama of Potemkin is of an artist making a masterpiece out of his raw materials as we watch. Motion is created before our eyes, from still shots, as in the montage on the steps, or the three shots of stone lions whose juxtaposition makes the Czarist lion seem to stand up and roar. The very astringency of the proletariat form seemed to bare, as in any stylized form, the sinews...
...admits to 220 Ibs., but the way they are spread over his 5-ft. 9-in. frame, he looks even beefier. He is a brash Irishman who comes on strong, forever "God-bless"-ing strangers, swearing at friends and consigning his enemies, who are many, to hell. When he made his big decision last week, Mr. James Breslin informed the world in his own waggish way-with a Page One ad in the New York Times, a paper for which he has never written. It said: "ROBERT j. ALLEN: You are on your own. I am giving up my newspaper...
While Dryden, with a 6-3 frame, can almost completely cover the net, Bruce at 5-7 must rely on mobility and reflexes. "Even if Dryden goes down he can protect a lot of area," Bruce said, "but if I go down, Cornell will have a field...
...bullets that struck the President came from the front. Assistant District Attorney James Alcock argued: "If the state can prove that the President was shot from more than one direction, the state in effect has proved a conspiracy." One sequence-which was shown in slow motion and frame by frame-clearly shows the President falling backward in his seat, an unlikely occurrence if he were being struck by bullets from the rear. However, the Warren Commission Report has already met this objection by noting that Kennedy fell backward because his chauffeur had speeded up the car when the shooting began...
...theater, Fosse's fluid scene shifting seemed cinematic. On film, the process is reversed. Dance numbers are given coy subtitles, crowd scenes seem achingly stagy. Whenever he cannot provide a valid transition, Fosse makes the frame a mammoth still picture of his star -strictly for those interested in the north, south, east and west faces of Mt. MacLaine. Regardless of how attractive the faces are, that is not film making, it is map making...