Word: looks
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Dates: during 1960-1969
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...President was the soul of middle America when he greeted the astronauts. Peering through the glass window of the quarantine van, he cried: "Gee, you look great!" He inquired whether they knew the results of the All-Star game. He chatted on and on, with somewhat feeble witticisms about asking the astronauts' wives for a date (coyly revealing that he really meant a state dinner). While there was a certain unpretentious charm to it all, it was also an awkward performance, and its triviality was strongly at odds with the solemnity of what had been accomplished. To describe...
...Newberg: "Mary Jo was not a stranger or a pickup. She was like a member of the family." On the other hand, says a longtime Kennedy watcher, "one can also sense that Kennedy, jovial, relaxed, perhaps high, might have said: 'Come on, Mary Jo, and let's have a look at the ocean...
...damage to his public case and reputation was so shattering that an early accounting was in his overriding interest. For six days the simplest details remained unexplained and were an endless source of speculation. Until Kennedy went before the cameras, a report by a county deputy sheriff, Christopher Look, that he had seen three people in a car headed toward the bridge at 12:40 a.m.?almost an hour and a half after Kennedy had said that he had left the party?was a mine of burning gossip. The three people, of course, were most likely Kennedy, Gargan...
...exposing contradiction, the intellectual limitations of the direct cinema style are stifling to all but the simplest ideas. Don't Look Back never gets us [pat one man's faltering sales pitch. The unreconstructed reality of direct cinema can give us only those dialectic contradictions observable from a single perspective; for dialectic and analytic insight we must look elsewhere...
Take another look at the examples and I think you will find that they destroy many accepted postulates of filmmaking. The writer-reality problem, for example, effectively eliminates narrative point of view, that cherished mainstay of the narrative form. The confused character-actor names go a good way towards breaking down the wilful suspension of disbelief which every audience is supposed to have. The game itself serves to destroy the scared concept of the inviolate frame. At one point, Piccoli looks at the television screen, sees his companion running towards a window, rushes off-screen to save him and immediately...