Word: moralize
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Dates: during 1960-1969
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...SHAME. Ingmar Bergman tells a painful parable of the horrors of war and the moral responsibility of the artist. This is his 29th film and one of his best, with resonant performances by Liv Ullman, Max von Sydow and Gunnar Björnstrand...
...leading political polling organizations, will conduct public opinion surveys and research for TIME and other Time Inc. publications on an exclusive basis in the magazine field. Under that arrangement, the editors of TIME will regularly ask Harris to explore how Americans feel about the urgent political, social and moral questions of the day. The first poll, which appears this week in The Nation, was begun in mid-March. It examines public convictions about military power, past, present and future, and how far the American people are willing to go in the exercise of U.S. strength. The results at times...
FEUER TENDS to use terms like "radicals," "students," and "activists" indiscriminately. He might easily have distinguished the New Left from the New Politics. The New Left prefers to work outside party politics. It prefers direct action for the sake of a moral principle--strikes, demonstrations, building takeovers. Any kind of long run participation in decision-making bores the radicals. It is more Nietzschean to pit one's will against the system and make it yield. Confrontation politics is not really politics...
...general way" is Black Cat's spooky atmosphere. It comes from Ulmer's constant shifting of weight, moment by moment, within scenes--continually presenting a new view of the situation, new moral positions and psychological experiences for the characters within the situation. Every successive shot in an early train-compartment sequence is a new camera angle; each takes in a new field of vision and a new set of characters and back-grounds. Any easy stability in the moral relations between characters is destroyed by constantly evolving changes of position. A feeling that Lugosi influences the young couple comes from...
...illuminates the darker sides of their faces, making the bright side darker. The weight and direction of each shot is changed by these flashes of light; just as the lightning changes the plan of the road in front of the bus, one has with the characters a feeling of moral change, change almost of personal identity. Finally, some camera motions which amount to moral voyages over the settings and people depicted, lift us into a realm of new truths about personal experience...