Word: motioning
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Dates: during 1940-1949
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Peronista Deputy José Conte Grand put the expulsion motion before the house. In support of the motion he quoted one of Sammartino's remarks: "A President who believes that the nation's history begins and ends with him shows at least a lack of mental and moral equilibrium...
...costs, Lee Skirt snips all possible corners. It has dodged style changes by concentrating on "what most women want most of the time." By ordering in volume, it gets a steady supply of good fabrics which boost sales and eliminate costly returns because of imperfections. To avoid waste motion, production has been so simplified that, says Carl, "our employees can work blindfolded." Lee Skirt treats its 50-odd employees well, and except for oral agreements on wage boosts has never had to alter its nine-year-old contract with the International Ladies' Garment Workers Union...
...John Herron Institute, sent a finely patterned, authoritatively painted study of three bicycling kids. A Portrait o/Roslyn, by the. Pennsylvania Academy's Katherine Grove, showed just how finished student work can be, and the Rhode Island School of Design's Herbert Fink contributed a boy-iff-motion that few professionals would have dared tackle (see cuts...
...airplanes. Propeller-driven planes are pushed forward by the reaction from the blast of air forced backward by the prop. When the plane is standing still on the ground with its propeller roaring, all the engine's effort is wasted on merely moving air. None goes into forward motion; the propulsive efficiency is zero. When the plane is in the air, the propulsive efficiency is high. Propellers are designed in such a way that when the plane is flying at full speed, the air blast from them washes backward at a mild 10 or 15 m.p.h. Comparatively little energy...
...director, Griffith hit the picture business like a tornado. Before he walked on the set, motion pictures had been, in actuality, static. At a respectful distance, the camera snapped a series of whole scenes, clustered in the groupings of the stage play. Griffith broke up the pose. He rammed his camera into the middle of the action. He took closeups, crosscuts, angle shots and dissolves. His camera was alive, picking off shots; then he built the shots into sequences, the sequences into tense, swift narrative. For the first time the movies had a man who realized that while a theater...