Word: human
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Dates: during 1960-1969
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...introduction of all different kinds of really weird people-a magician a violent fag the staff of a private detective agency-affirms Truffaut's positive belief in the uniqueness of every human individual. Institutions-such as the institution for juvenile delinquency in The Four Hundred Blows the System in Fahren?eit 451 and the army in stolen Kisses -which suppress this uniqueness are Truffaut's real enemies...
Herbert Butterfield's chestnut is quoted twice in May's writing. Behind most international conflicts, Butterfield wrote, is "a terrible human predicament ... a terrible knot almost beyond the ingenuity of man to untie. The trouble with option diplomacy is that it makes no Gordian attempt to explain how policy could have been handled differently. "You put everyone in their place," says a critic, "and see how their options were limited to a, b, and c, and see that the war was tragic but inevitable. You can never make any criticism of American foreign policy this way." Without some analysis...
...Griffith undertake such a huge project? What did he expect to do with all the historical and human material he had amassed? How could he think to organize...
...Intolerance was based on a very abstract view of human experience. A triumph of sentimentalist humanism, it made dramatic sense and power out of all history, which it saw as human circumstance. Its basic notion, that a few universal sentiments motivate human actions, were more common in Griffith's Christian times than now. The films of the period, though, don't reflect it. Even Birth of a Nation, which was changing everyone's ideas of what films could be even while Intolerance was in production, dealt with members of two families in a historical context, tracing individuals' emotions through...
...Catherine de Medici, to religious conflicts in Christ's Palestine, and to the grand movements of the political civilization of Babylon. He calls the injustices of each social system "intolerance." Consequently, the film's climax-with the four stories intercut-lacks any thematic synthesis. Griffith turns largely to the human interests in his four endings...