Search Details

Word: know (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
Sort By: most recent first (reverse)


Usage:

Abolishg ROTC-how does HE know it won't help end the war, and since all else has failed, why not TRY structural changes, if ending the war is really desired...

Author: NO WRITER ATTRIBUTED | Title: The Mail | 5/6/1969 | See Source »

WILLIAM STYRON came to Winthrop House the evening of the bust. He said he had spent the whole day traveling, he had only heard radio news summaries, he wanted to know what was happening on campus. Nevertheless, the conversation turned almost immediately to The Confessions of Nat Turner, and it stayed there until Styron left...

Author: By Peter D. Kramer, | Title: Styron at Winthrop | 5/5/1969 | See Source »

...this man is, at 44, an heir to William Faulkner and all that Faulkner was heir to. The Southernness is right: "A homogenization has taken place. I'm not sure Faulkner's 'South' still exists, it exists only as a memory. But unless I still smelled the country I know so well, I wouldn't have chosen to write..." What doesn't show is the artist's sensitivity...

Author: By Peter D. Kramer, | Title: Styron at Winthrop | 5/5/1969 | See Source »

Jacob's ladders of sunshine, a parade of deer, fox, owl and bear, and a vigorous outdoor atmosphere that practically chills the viewer's nostrils, all give the film an air of actuality. Parents know better. Sam spends five months without a bowl of cereal or a pair of rubbers, yet never catches a cold, never asks for a glass of water at night and never needs a Band-Aid. My Side of the Mountain may be as delightful as Walden but it is plainly as fantastic as Snow White...

Author: /time Magazine | Title: Cinema: Gold in the Straw | 5/2/1969 | See Source »

Watching Pierrot Le Fou, a film that should be seen at least twice, is the best way of getting to know Godard's highly personal style: his revolutionary jump cuts, blue and red filters, characters set against a blank wall, references to his other films, and heavy use of literature. Above all, Godard makes the viewer acutely aware of the film-making process. His point here is to make the viewer acutely aware of the film-making process. His point here is to make the viewer realize that his is not an "art film," divorced from life, but is rather...

Author: By Theodore Sedgwick, AT THE ORSON WELLES | Title: Pierrot Le Fou | 5/2/1969 | See Source »

Previous | 168 | 169 | 170 | 171 | 172 | 173 | 174 | 175 | 176 | 177 | 178 | 179 | 180 | 181 | 182 | 183 | 184 | 185 | 186 | 187 | 188 | Next