Word: framing
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Dates: during 1960-1969
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...Gallery showroom is stuffed with pictures. Shoulder to shoulder, frame to frame, they overwhelm the viewer as he enters. Yet there is no ex-Cliffie receptionist to threaten you at the door, no sickening plunge into wall-to-wall restraint and exclusiveness like one finds in New York's big galleries. The drawers and drawers of prints are open to anyone. You may shudder at shuffling and bending beautiful Goyas as you look through the stacks of prints. But at least you can see them for yourself with no hassle, look, touch, browse as long as you want...
...lives another year it will be a miracle. His whole nervous system is so wracked by amphetamines that he literally has to be carried off the stage after a performance. His speech is an alternating pattern of comments followed by ghastly croaks that begin somewhere down within his sinewy frame and emerge through a crooked row of half rotten teeth. When I asked him why they called themselves "Cream," he emitted the type of lecherous laugh that would turn anyone with an unmarried daughter into a life-long advocate of the police state: "It was a joke...a dirty joke...
...strength in the acting, it is Prince's staging that dominates Zorba. I am convinced that this man knows more about building a musical scene than anyone else around. In this show he has chosen to frame the action with music, so that at times one is hardly conscious songs are beginning and ending. For this purpose he keeps a chorus of sorts on stage nearly the whole time. The singers and dancers drift in and out of the action or often just sit on the high platforms that are a permanent fixture upstage. Leading this group is Lorraine Serabian...
...necessitate some responsible discussion to our children, lest they accept a celluloid version of the swinging sixties. Now I have nothing against cheap legend, you understand; the prevalent romanticism of American narrative cinema provides a most captivating, not always inaccurate, cultural history of the U.S.A., sometimes useful as a frame of reference, always in our minds. Our grasp of the twenties and thirties cannot be divorced from icons remembered from countless gangster films and screwball comedies--anymore than we know the old west apart from the one given us by John Ford. These films are our memories of American life...
Both films suffer from scriptwriters' inability to go beyond a simple extrapolation of the hippie into already familiar contexts: Alice B. Toklas might just as well be called Nichols and May Meet The Flower Children, its frame of reference entirely consisting of semi-improvised Jewish comedy prevalent in Neil Simon and lesser Feiffer. Runaways is structurally a simplistic morality play juggling black-and-white moral quantities with the vengeance of a true confessions magazine...