Word: nubians
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Dates: during 1960-1969
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Darkened Zeal. Executed between the 6th and 12th centuries, the frescoes reveal an impressive command of technique-particularly for a place so remote. The style of the Nubian monks who painted them seems to have evolved from the naive manner of Egypt's Copts into more severe stylization. An unidentified deacon with basilisk eyes and a mandarin mustache shows the ability of the Nobatian artist to transform a standard Coptic portrait with a sparsity of line more Byzantine than that of the Byzantines...
...portrait of St. John Chrysostomos shows how Nubian artists employed subtle shading not only for the sake of naturalism but also to heighten mood. A Madonna and Child dating from around 710 differs from many earlier extant treatments of the subject in that it shows Christ as a baby and not a diminutive adult...
...skin-flick that rarely makes it off the grind-house circuit. But this film is being released in the U.S. by Joseph E. Levine, a canny showman with a shrewd instinct for profitable exploitation. Five years ago, the only chained-up people in Levine movies were Mediterranean musclemen and Nubian slaves. From this standpoint at least, La Prisonnière marks a certain kind of progress...
...more than 15,000 of them, fresh out of school and impatient after long delays at the gates, tore the place apart. They smashed hatching quail eggs, hurled rocks at the ducks, dropped baby turtles on their backs, pounded away on the shell of the Aldabra tortoise. A Nubian goat bleated in agony as it was pulled from both ends. The baby elephant ran off in terror. A peacock, its tail feathers sore after having been yanked for hours, bit a four-year-old girl in the face. What the kids did not manhandle they made off with, including...
...valuable are Notre Dame's name and symbols that on occasion it has licensed Hollywood to use them at a tidy profit to itself. Twentieth Century-Fox, however, got no permission before plunging ahead with a film in which a befuddled Notre Dame football team is corrupted by Nubian dancers and walloped by treacherous Arabs coached by a Jewish U-2 pilot working for the CIA in a mythical Middle Eastern country. To the Rev. Theodore M. Hesburgh, Notre Dame's president, whom the film depicts as "Father Ryan," there was only one answer: John Goldfarb, please...