Word: jump
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Dates: during 1960-1969
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...would have no pay in money for hurling my body into space. There would be no crowd to watch and applaud my landing (there was later). Nor was there any scientific objective to be gained. No, there was a deeper reason for wanting to jump, a desire I could not explain. It was a love of the air and sky, the lure of adventure, the appreciation of beauty. It lay beyond the descriptive words of men-where immortality is touched through danger, where life meets death on equal plane; where man is more than man, and existence both supreme...
...wrote an authentic American hero of the moment he contemplated his first parachute jump. As the star of a barnstorming aerial circus, he became known as "Daredevil Lindbergh" long before he flew the Atlantic. In his writing he came close to describing the indescribable spirit of adventure that is instinctive to mankind and has been intensified in America, which was discovered and explored and grew to greatness under adventure's drive. De Tocqueville translated adventure into "individualism," and suspected it would lead to despotism. But Count Adam Gurowski, a Pole who settled in the U.S., wrote in 1857: "Excitement...
...talking to each other the actors don't jump many cues. But they don't play off each other as they might, varying tone and cadence to indicate apprehension or guilt or relief. In the inter-scene monologues a few actors came close to this kind of rhythmic expression of emotion. But together they...
...lilt and beauty of Alfred's language also presents a problem of integration. In the first act there is a certain speechiness, a tendency for dialogue to jump out of context and character for poetic effect. Combined with the painfully sparse movement of the first few scenes, this makes the early part of Hogan's Goat easier to listen to than to watch. By the end of Act I, however, as Quinn spits in Matthew Stanton's face, the action catches up with the language...
...sense of the film itself, as a medium. Scenes photographed with the camera on its side or shown in negative remind one not of the unseen creator but of the nature of his materials. Godard employs a whole catalogue of cinematic tricks--intertitles before the monologues, subtitles supplementing dialogue, jump cuts, characters whispering their thoughts from off-screen, sudden shattering increases in volume and so on--to make The Married Woman "pure" or art-for-art's-sake cinema...