Word: laying
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Dates: during 1980-1989
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...jungle, the eerie lights of the encampments, the unreal G.I. show, Wagner pouring out of choppers. Francis Ford Coppola comes so close to coaxing this monstrous myth into flight. Yet, at the end he fails because he abandons it. Making myth isn't enough for Coppola, he has to lay bare Evil. But a behemoth--like Marlon Brando, fingering his pate in semi-darkness and blubbering out The Hollow Men isn't Evil. Conrad knew that Evil isn't shown, but alluded to, when he wrote "The horror, the horror". Isn't that why we have myths and symbols after...
...three Independent seats will probably doom the lay-off policy implemented by the current CCA-dominated school committee. That policy blocked the layoff of minority and many younger teachers; the Independents campaigned on a pledge of lay-off by strict seniority...
...took the Swedes 15 hours after the grounding to get a navy picketboat to the scene, but then the pace quickened. Armed with submachine guns, Soviet crewmen paced the deck of the sub, a diesel-powered relic from the 1950s, which lay stranded like a great gray whale. Swedish Commander Karl Andersson boarded the intruder and talked to Captain Pyotr Gushin, whose increasingly melancholy air bore a remarkable resemblance to that of Actor Theodore Bikel, the beleaguered commander of the Soviet sub in The Russians, etc. Andersson emerged to say that the Soviets "blamed their accident on an error...
...himself the literally endless task of making photographs, some on commission and others ad lib, of France, especially the part of France that lay in Paris and within a radius of 50 miles around it. They were not meant to be tourist views-he never, for instance, photographed that most distinctive of all Parisian "sights," the Eiffel Tower. Nor were they meant to reveal spectacular oddities; there are no extreme closeups, wrenching details or aerial views in Atget, and the lens of his old-fashioned camera was always pitched at the height of a small man. Consistently, his work declares...
...stirs them. Into this ecstatically concrete world, a ghost intrudes: the shadow of Atget and his shrouded camera falling across a cabbage plant. Mere shades that whisper "I was here" and so wrench the image away from objectivity toward that sense of mutual dependence between viewer and view that lay at the heart of modernism...