Search Details

Word: glamourization (lookup in dictionary) (lookup stats)
Dates: during 1990-1999
Sort By: most recent first (reverse)


Usage:

...WOULD DISPUTE THAT Harry Callahan has a reputation. He's a venerated name in postwar photography. What he lacks is a legend, the personal drama that turns a mere photographer into a cultural celebrity. Diane Arbus had her demons. Robert Frank has his melancholy. Richard Avedon has his glamour, so much of it that Hollywood turned his life into Funny Face. Callahan taught art school in Chicago and Providence, Rhode Island. Not much of a role there for Fred Astaire...

Author: /time Magazine | Title: PHOTOGRAPHY: PICTURES FROM AN INTUITION | 4/15/1996 | See Source »

PRIMAL FEAR. OR, ALTERNATIVELY, Fatal Fear, Primal Attraction, Indecent Instinct, even--why not?--Basic Exposure. Who cares, finally? These interchangeable titles all promise the same thing: the black glamour of privileged people abandoning common, repressive sense for a mad moment, thus putting their nice clothes in serious danger of becoming mussed, if not downright bloodsplattered...

Author: /time Magazine | Title: NOT SO PRIMAL | 4/15/1996 | See Source »

Rather than basking in transient glamour, the Coens have focused on making films. And why not? They may be the most talented team working today. A string of successes including the wild "Raising Arizona," the brilliant "Miller's Crossing" and the endearing "Barton Fink" ended recently with a near miss, "The Hudsucker Proxy." After that film, which required a huge budget (by Coen standards) and lots of sound stage shooting, it is no wonder that they opted for a smaller film like "Fargo...

Author: NO WRITER ATTRIBUTED | Title: 'Fargo' Provides Cold Comfort, Coen Style | 4/4/1996 | See Source »

...Magnificent Obsession) to musicals (Thoroughly Modern Millie in 1967) to comedies (a brace of Doris Day films) to dramas (1970's Airport), the typical Hunter product offered a high-calorie menu of top-priced Hollywood stars, expensive sets and sumptuous costuming that gave tragedy and melodrama a gloss of glamour...

Author: /time Magazine | Title: Milestones Mar. 25, 1996 | 3/25/1996 | See Source »

...will be reminded of the brandy Alexander that Mary Richards told Lou Grant she'd like during her job interview on the Mary Tyler Moore show, a series that was a lot more acute about the elusive glamour of TV news. But Up Close and Personal is The Way We Were Hollywood version. Long before its ending (or rather, the endings--there must be six or seven of them, all superfluous to the main plot), the film has become a rosy yet pale dreamscape of real workaday life. It's like the Windsong commercial on the nightly news, between...

Author: /time Magazine | Title: CINEMA: HAIR TODAY, STAR TOMORROW | 3/4/1996 | See Source »

Previous | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | Next