Word: objectively
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Dates: during 1990-1999
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...bland book choices. Those who fight back with verve risk being drummed out of a job or even chased into court. And the old reliable volumes aren't necessarily a refuge either. Such classics as The Grapes of Wrath and Catcher in the Rye are still frequently the object of parental protests...
...MOVIE] THE PRINCE OF EGYPT [ANIMATORS] 75 [WEIRDEST CASTING] Val Kilmer as Moses [FAST-FOOD TIE-INS] None. Said publicist: "What are we going to do, the Moses Big Mac?" [PROTESTS SPARKED] Muslims object to the depiction of prophets [GROWNUPS' BONUS] Exodus is a children's story...
...denies them access to a valuable opportunity. True, many women still choose to participate as production staff, crew and patrons. But many have confided that they feel as if they're waiting under the table for scraps, and others strongly resent the Pudding's all-male casting. Most who object remain tight-lipped and look elsewhere--to less-funded, more amateur productions--for creative fulfillment...
...detachment, which prevents wholehearted admiration while simultaneously intensifying the clarity of appreciation. Like most of the other drawings and photographs exhibited at the Busch, The Schaefer Sisters "clicks" for the viewer just as later Abstract Expressionist pieces "click"; unlike abstract images, however, the presence of a clearly portrayed object confounds any attempt on the museum goer's part to detect feelings of abstract communication or inspiration. Pieces such as Max Beckmann's hollow-eyed Self-Portrait and Lyonel Feiniger's playfully interpretable Hairdresser's Dummy with Mr. and Mrs. Feiniger have the modern emphasis on form which mark their contemporaries...
...realistic hopes for a Communist revolution in the Weimar Republic. Heartfield lays Liebknecht's mordant head among a sea of German newspaper clippings from anti-Communist papers, subtly picturing the Freikorps in one corner. The effect is a man drowning in newsprint--a valid object of sympathy, but probably not what Heartfield intended. Although this piece is perhaps the least presentable of the exhibit's montage collection, even it expresses what is most important about Weimar montage: a photograph, the medium of realism, is cut, so that slavery to photo-realistic reproduction is defeated as its own inception...