Word: objectional
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Dates: during 1960-1969
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Given this, we begin to see why the Koumiko mystery cannot be solved. From the first shot of Koumiko, an extreme close-up of her eyes, she is seen as a love object. Since the film was edited in France (a fact purposely presented to the audience), it is clear that Koumiko is a memory. Marker is an outsider to Koumiko not only because he is a European but because he is a man. (The similarities between this and Hiroshima, Mon Amour are obvious and, I believe, intentional.) Solving the mystery would destroy the romantic quality both of the woman...
...Thais face growing guerrilla insurgency in the northern and northeastern provinces, but they have not yet asked for U.S. troops to help; nor would the Thais object to a reduction in the number of U.S. servicemen stationed on their soil. There are now 50,000, barely fewer than are in South Korea. "Thailand is a country that stands on its own two feet," said Nixon as he urged the Thais to make new domestic reforms. Foreign Minister Thanat Kho-man took the cue from his guest. "It is an absolute necessity for Thailand to have many different measures to oppose...
Last week, on the 157th day of an arcing, 242-million-mile journey across the solar system Mariner 6 reached its destination. In the closest approach to Mars ever achieved by a man-made object, the U.S. spacecraft flew within 2,130 miles of earth's planetary neighbor...
...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 contains a bright space inside returns later in exteriors of the cafe which seem Expressionist: the hero wanders through the shadow-filled darkness barred from light, warmth, security. But the stove, like the stage at the end, gives the light a different meaning. Light...
...Jannings' most desperate action. Indeed, Sternberg cuts away to a doorway rather than showing Jannings being strait-jacketed. Later released, he returns to his old school desk to die the death of all Expressionist heroes. But Sternberg ends the film with shots of Dietrich, the burning Romantic figure and object, so that even in the person of the protagonists Sternberg's system triumphs over the Expressionistic scheme...