Word: ordering
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Dates: during 1960-1969
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Around 3:30 p.m.. Westfeldt decides the first "rundown," the order and length (down to the second) of the stories. An hour or so later, a couple of writers begin to rap out Huntley's copy, mostly from the A.P. wire. Brinkley generally writes his own. Westfeldt has final film cut and say; he doesn't touch Brinkley's prose, but he sometimes overrules David on the priority of items. New, updated copy sometimes is slipped to the anchor men during commercial breaks...
...sure of is the shining face of a woman pushing through a crowd, speaking the nonsense announcers spin out when they've nothing to say, hunting for a man whose location and identity are in question. Instead of defining the situation, showing us clearly the setting and order of the action, the shot affects us while explaining nothing...
...shots of Rules of the Game affect far more than they clarify. In each the normal rectangular order of human environments, the square corners on which houses are built, is disrupted in favor of a world filled with senseless detail. The aviator has landed complaining that the woman he loves isn't present. Renoir cuts to a radio in her room, following the announcer's voice. The room is bright and elegant, unlike the night-time of the airfield-and full of ornament. Her dressing table overflows with gleaming toilette articles. A mirror atop it reflects her maidservant twice, filling...
Instead he joins a group of aristocrats in a country mansion. During their extended party the tangled relationships between them proliferate. The drama becomes a monstrous pattern without order, filled with action which develops only to greater confusion and triviality. The mansion is a collection of rooms we cannot fit together, each with its own specific disorder. And when it's closest to an apparent resolution the film becomes completely chaotic. Octave and Christine. alone in a greenhouse in the park, decide to elope. The light falling on the scene is so broken that their faces and their surroundings...
...refusing to take his murder seriously the characters remove all ideal depth from life. They dedicate themselves to a world of dark confusion, textures of broken light and shadow without order, violent emotional events with scant meaning. In thus interpreting the continuity of social process and order after individual death, Renoir finally recognizes the seriousness of his material. His fluid and continuous relationships between men, his heroes' deaths at the hands of society are given the atmosphere of horror they deserve. Renoir is morally engaged in Rules of the Game as in few other films...