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...question is, Do we believe in Santa Claus movies? There are two on screens at the moment, and the best that can be said for them is that they offer a clear-cut choice: you can take your seasonal dose of sappy sentiment either in stuffy traditional or tacky modernist form. Miracle on 34th Street, as befits a remake we probably don't need, offers us a Santa Claus cut along classic lines -- round, twinkly and played with a nice, comforting restraint by the redoubtable Richard Attenborough. The Santa Clause presents us with an Anti-Claus, Tim Allen of Home...

Author: /time Magazine | Title: CINEMA: Too Much of a Gooey | 11/28/1994 | See Source »

This mystique made Lancaster, who died last week of a heart attack at 80, the first modernist movie hunk. He sprang to prominence in the emotional chaos after World War II and was a star in his first role, as the doomed Swede in The Killers (1946). Immediately viewers could spot a gritty urban charm, brooding good looks, a handsome physique. He made the most of this charisma in The Crimson Pirate, an ebullient homage to Douglas Fairbanks that drew on Lancaster's own acrobatic skills, and later as the consummate con man in both Elmer Gantry (for which...

Author: /time Magazine | Title: His Own Man: Burt Lancaster (1913-1994) | 10/31/1994 | See Source »

...people's cultural identity. "I thought that a truly American opera would be based on African-American music," says Davis. That is precisely what he accomplished in his powerful and biting 1984 work X, The Life and Times of Malcolm X (with libretto by cousin Thulani), a fierce, modernist, free-tonal piece that employs elements of jazz, blues and gospel...

Author: /time Magazine | Title: The Beauty of Black Art | 10/10/1994 | See Source »

Visual and Environmental Studies 104r. Body (parts), Identities, Powers: "...The second half addresses contemporary issues, including the modernist occlusion of the face, the totalitiarian power-head, and the cinematic face, ending with the 'probe-head...

Author: NO WRITER ATTRIBUTED | Title: A Quickie Guide to Picking Courses | 9/16/1994 | See Source »

...American art and came, in this case, from outside it. De Kooning arrived in the U.S. as an illegal immigrant from Rotterdam in 1926. He was a gifted draftsman who had already achieved a high level of academic training. But he gradually learned to connect that to a modernist syntax, fusing the line of Ingres and the fragmentation of the antique torso to 1930s Picasso and his American derivatives like Arshile Gorky. Seated Figure (Classic Male), 1940, shows the early stage of this process to perfection. The forms through which De Kooning reached abstraction were always connected to an earlier...

Author: /time Magazine | Title: ART: Seeing the Face in the Fire | 5/30/1994 | See Source »

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