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


Usage:

...with few secrets but only shared mysteries; to Giacometti, portraiture was similarly stylized, yet obsessive and all but totally private. Between them on that spiral way, at the far point from which the return curve began, was Rembrandt, searching and searching his own face, his own eyes, in the mirror of his self-portraits...

Author: /time Magazine | Title: Art: Tour of a Long Spiral | 12/26/1969 | See Source »

...Senate barber shop is putting in some extra chairs in anticipation of a huge increase in business. Surely, after what some Senators did to Judge Haynsworth, they won't be able to ever look in the mirror again...

Author: /time Magazine | Title: Letters: Dec. 12, 1969 | 12/12/1969 | See Source »

...same eternal routines?" asks Buntaro Nagasaka, manager of the Hotel New Japan in Kobe. "We provide our patrons with something new and exciting in beds to help trigger a greater bliss for them." The most sensational trigger: a double bed that moves slowly upward eight feet into a mirror-covered nook in the ceiling. Another, simpler model features a mirror that drops suddenly to a position only four feet over the bed. Explains Manager Nagasaka: "Shocked and terrified, your partner is bound to grab hold...

Author: /time Magazine | Title: Modern Living: The Moving Beddo | 12/12/1969 | See Source »

...best parts of the film are those which show Miller the clown. In the opening shots he laughs and makes faces at himself in the mirror. "For all your ills, I give you laughter. To laugh at yourself is the most important thing." he says. His boisterous and irresistible laughter proves his point. Upon graduating from high school in Brooklyn, Miller was asked what the wanted to be later on in life. "A clown." he replied. "the symbol of man's suffering on earth...

Author: By Theodore Sedgwick, | Title: The Filmgoer The Henry Miller Odyssey | 12/8/1969 | See Source »

...formed. Now if you have a silver samovar on stage, the object is so clearly defined that it tends to dominate the actor, and he can only respond to it in a muted, basically cinematic fashion. However, an object chosen to have no meaning in its own sense can mirror the actors reactions toward...

Author: NO WRITER ATTRIBUTED | Title: Interview with Leland Moss Developing Direction at the Loeb | 12/5/1969 | See Source »

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