Word: kershner
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Dates: during 1960-1969
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...sponsored by the National Student Association, the Motion Picture Association of America and Manhattan's Lincoln Center for the Performing Arts, the festival last month showed entries from 37 colleges, which were judged by a panel that included Directors Norman Jewison (In the Heat of the Night), Irving Kershner (The Flim Flam Man), and Producer Philip Leacock (Gun-smoke). The prizewinners in the contest's four major categories...
Though the resemblance of Madness to Bondomania is otherwise superficial, Director Irvin Kershner savors the joke to excess. The rest of Elliott Baker's screenplay, adapted from his own 1964 novel and filmed with careful fidelity on the seedy side of Manhattan, is a fitfully funny satire based on a portrait of the artist as the natural enemy of all Establishment norms. This voguish half-truth worked well enough in book form, where nearly every character was a well-managed mass of lunatic impulses. In the movie, everyone seems to be racing against the threat of imminent condensation. Director...
...Lion Rampantcontains three good poems. Richard Kershner's "Three Preludes." Kershner, a junior at Johns Hopkins, apparently writes a lot; more of his poems will be published this fall in a volume by young Baltimore poets. More importantly, his work shows what the other poems and the one story in the Lion Rampantdo not-a degree of artistic accomplishment Kershner can work with words; they make his ideas tangible, add relevance to some very personal thoughts...
...first prelude, which is untitled, Kershner shows the emptiness of a man's mind by filling his attention with a clutter of objects. But he yearns after his missing lover, and the objects become cruel and taunting. The grapes seem cruel because they are "hard," the saucers and chairs because "they do not choose to speak." He uses versification cleverly, with ironic intent...
...other poems, "The Body Vigil" and "Im Herbst," although both are rather weak in organization from stanza to stanza, show that Kershner has developed a poetic vocabulary. He speaks again and again of the seasons, of ice, of wind, of worms, of fire, and these images come to define, not merely describe, feelings...