Word: interplays
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Dates: during 1960-1969
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...films could be even while Intolerance was in production, dealt with members of two families in a historical context, tracing individuals' emotions through a war. The Expressionist practice of basing films on myths about existence postulates Intolerance by a few years, and Eisenstein's theory that films are the interplay of ideas cannot be found in the period before Intolerance -the period Eisenstein regarded as "prehistory." Finally, the embodiment of abstract themes in specific characters-the narrative feature film as we know it-was developed by Griffith only after this grand experiment...
...play from one exciting event to another, from one "sock on the jaw" (Chekhov's phrase) to another; he has turned his back on the technique of say, Ibsen and Strindberg. He has, in effect, turned from the solo concerto with orchestra to the more subtle and contrapuntal interplay of chamber music...
...formula buildings that proliferate in every city like frozen dinners in a supermarket. The architect's imagination is now captured by bold, brutal structures of raw concrete; or intricate multilevel structures, designed with the help of a computer; or "pop" buildings that seem to revel in the chaotic interplay of roof lines, angles, windows, colors. Yet all the architects who rebel against Gropius' cool, functional logic paradoxically owe to him their method and ethic. He laid, in the hard soil of reason, the strong and deep foundations for them to build...
...understanding, peace and, in the same breath, revolution. Protesters who stop traffic or disrupt the work of a draft board by taking off their clothes use nudity as a kind of nonviolent Luddism. But artistically undressing is too easy. If a dramatist can substitute a mute nude for the interplay of character and situation, he will be tempted to do so and in all likelihood be handsomely rewarded for succumbing. Nonetheless, nakedness is not a statement but a condition...
...structure of In the Year of the Pig reflects this dichotomy between life and analysis. The whole film is an interplay between analysis concocted in tranquility and life enacted in unanalyzed violence. The analysts are always there, narrating the actions of others. Sometimes we see bright and uncomfortable close-ups of their faces (usually minus the tops of their heads) as they clinically pick apart and piece together the puzzle of Vietnam. Paul Mus, Professor of Buddhism at Yale, lounges in his living room chair beside a hi-fi speaker and Oriental trinkets and dramatically recreates his contact with...