Word: levels
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Dates: during 1960-1969
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...Late? Last week a top-level American Bankers Association commit tee called for an end to traditional certificates. The committee, composed of bank and stock-exchange officials, announced that by the end of 1969, it hoped to replace all the certificates of actively traded issues with a standard-sized punch card. Every stock or bond issue will have an eight-digit identification number that will be used on all wire communications, transactions, transfers and dividend claims. Standard & Poor's will spend close to $1,000,000 coding some 1,000,000 stocks and bond issues into two directories, each...
...Last week the market did fall sharply. The Dow-Jones industrial average dropped 13.60 points on the first day, recording the worst setback since June 5, 1967. For the week, the Dow dropped a total of 25.45 points to wind up at 888.47, way below the cherished "support level" of 900. Brokers claimed that the sell-off was a delayed reaction to bad news concerning the Paris peace talks and the Czechoslovak-Russian confrontation, combined with an anticipated economic slowdown as a result of the 10% tax surcharge. Frederick Stahl, chairman of Standard & Poor's, suggested that the midweek...
...know it, the presence of the camera alters reality, affecting the spontaneity of those conscious of being filmed. The greatness of Jean Rouch's Chronicle Of A Summer rests largely in its being a deliberate study of how lives change in the prolonged company of a camera. On another level, editing and use of subjective techniques, from point-of-view shots to the optical changes defined by the variations in different lenses, defeat any attempt at total simulation of reality--even in the best work of the best documentary film-makers, and those early works of Rosselini and Visconti which...
There are no rules to be drawn from any of this, but film history supports one or two generalizations. Most of the great films transcend a primary level of visual reality, that of superficial "slice of life" recording and, aware of the magical power of the image to convey an absolute truth, move toward dramatic metaphor in subject and theme, in order to convey ideas that will affect us, living in the one reality film cannot reproduce. The meaning of great film exists ultimately not in the script mechanics but in the treatment of script mechanics by distinct camerawork...
...revelations of the last scene display a highly sophisticated use of narrative exposition. On a content level, the truths of The Champagne Murders derive from scrupulous honesty--a retrospective look at the film resulting not so much in our remembering hints dropped conspicuously in early scenes as places where Chabrol didn't cheat. When Jacqueline the secretary types up the letter of transfor turning Paul's name over to Christine, she is shown in screen-left fore-ground in focus, with Paul and Christine out of focus in the background. Our eyes watch Paul and Christine because we think that...