Word: moralizers
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Dates: during 1960-1969
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...head of the Center for the Study of Democratic Institutions in Santa Barbara: "It's marvelous. What else can you say?" Author Paul Goodman, a frequent critic of U.S. institutions, wrote in the New York Times: "It's good to 'waste' money on such a moral and esthetic venture. These are our cathedrals." At Atlanta's Cathedral of St. Philip, the Episcopal priest who married Buzz and Joan Aldrin prayed: "Almighty King of the universe, God of glory, bless Neil, Edwin and Michael, who have ventured into measureless space for the enrichment of knowledge...
...adults and are less intrusive than TV commercials, which often run while children are viewing. Even so, Senator Moss has warned publishers to avoid accepting "massive print advertising campaigns" and urged them to "maintain current ratios" of cigarette to non-cigarette advertising. Quite likely, publishers will feel increasing moral pressure to drop cigarette...
...share of belowstairs social comedy and wistful aspirations. But as an artist as well as a prophet, Dickson judges Wells "all brains and very little heart." In Boon, his wicked attack on Henry James, he may have been assaulting in James what was missing in himself: infinite care and moral responsibility...
...into Sternberg's dramatic and visual scheme, establishes the pattern of the entire film. In this system the attraction of light is a crucial motivation of personal behavior, and Jannings' blindness to the globe behind him appears simultaneously with a restriction of depth that expresses the limitations of his moral and perceptual experience. The sudden manifestation of death (which had existed before the film began) in the canary is part of the film's smooth flow, a dramatic event quietly noted and celebrated (in the bird's cremation). The theme of a box-like object or set whose dark exterior...
...while Dietrich backstage messes with a young actor. The ringmaster steps on stage, but Jannings refuses to come from behind the gauze curtain which partly obscures him. Sternberg cuts to high-angle shots of the rowdy audience, instead of stage-level shots which would show Jannings on the same moral plane, and then as Jannings on the same moral plane, and then as Jannings comes on stage to a terrifying long shot of the stage, rectangle of light, surrounded by the darkened hall and crowd. Despite the weight of this darkness, our attention is riveted to the personal drama...