Word: mode
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Dates: during 1960-1969
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...order to pressure the Faculty both to adopt one kind of solution on ROTC and to hold open meetings, was precisely not in the situation of, say, the minority of industrial workers who had to organize strikes against companies that had effectively deprived their employees of any mode of redress other than coercion. It is because there existed orderly -- if slow and constricted -- procedures for change, which had demonstrated neither their impotence nor their indifference, that the sit-in is indefensible--not because the target happened to be us, the professors, instead of Dow. That these points should have...
...television extravaganza, Nixon introduced Volpe as not merely a road-builder, but as an expert in all fields of mass transportation. That statement is ridiculous. As Governor the ex-highway contractor has continued to emphasize roads as the primary mode of transportation in Greater Boston and throughout the Bay State, while allowing public transportation to lag far behind, as everyone who has tried to travel to Wellesley by MBTA can witness...
...heart transplantation still an exploratory venture on surgery's frontier, or has it become an accepted mode of treatment? On that, the transplanters themselves are divided, Shumway and DeBakey holding that it is still only investigational, with Barnard and Cooley just as emphatically insisting that it is already much more...
Like the ugly men, the other nice things about this picture are also strange. In its slick color photography, advertising campaign, title and plot, Hot Millions gives the appearance of being yet another film of the glamorous grand robbery mode (Charade, How to Steal a Million, Gambit, et al). But, for all these superficial indications, this movie has little to do with beautiful people or even money. Not only that, but it's a suspense film with little suspense; a comedy with few big laughs; a love story with no flesh. And Hot Millions characters are the kind of people...
...search of a visual mode for its subject, West German animator Heinz Edelmann furiously ransacks the past. From the mannerists, he borrows "shot colors" -red blending into orange, blue fading into green. He employs the whiplash and the curvilinear strokes of art nouveau. He features the upholstered monsters of comic strips, the impudent whimsy of Dada, the vibrating poster art of Peter Max. The eclecticism almost becomes a style of its own, and occasionally it is effective, as in Eleanor Rigby when "all the lonely people" appear as gritty newsreel figures who float by each other in a surrealistic frieze...