Word: marketed
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Dates: during 1970-1979
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Still, like all Eastwood films, The Enforcer is permeated with explicit violence. In the course of the story innumerable people are shot, knifed, burned and run over. Unfortunately, the people who form the market for these movies have demonstrated time and time again that violence sells. As long as moviegoers support violent films, the genre will flourish...
Fluctuations in the national economy and the stock market naturally affect giving to Harvard. "Bad times dry up sources of money and frighten people," Peterson says. But he adds that an efficient fundraising system should be able to overcome these trends. With the right "psychological" as well as economic strategy, Harvard can "largely ignore economic fluctuation. We plan in the good times so that we can survive the bad," he says...
...decline that had led some critics of Detroit to believe, mistakenly, that the American public's longstanding love affair with the auto was ending. Second, buyers turned away from foreign cars to snap up the American makes. Import sales actually declined in 1976 to 14.3% of the total market, their smallest share in four years. Two reasons: imports are heavily concentrated in no longer popular small cars, and the rising value of the German mark and the Japanese yen has pushed prices up sharply...
Each of the Big Three had something special to brag about. GM increased its already top-heavy share of the domestic market to a record 55.8%, from 53.1% in 1975. To get an early start on meeting federal reg-ulatioris that require U.S.-made autos to average 27.5 m.p.g. by 1985, GM has ' taken a multi-billion-dollar gamble in shrinking the size and weight of its cars. The public's approval of the lighter and crisply styled autos has delighted GM executives. Cadillac, which brought out its Mercedes-size Seville, experienced its best year ever...
...right. Have it straight so far? F for Fake is thus a cinematic illusion (movie), directed by a renowned beguiler (Welles), about a world-famous flimflammer (Irving) who at the time the film was shot just happened to be assembling a life story of the modern art market's most remarkable phony (deHory). And that's just what the viewer (victim) is supposed to believe. By running the story through flash-forwards, flash-backs, run-arounds and red herrings, Welles goes on to confuse the audience about the veracity of anything, or everything, or--as Welles might like to suggest...