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...this movie didn't need my strengths as a storyteller because the story's already been told." Here he is being too modest. It was surely the screen storyteller in him who responded to the compelling narrative strength of Thomas Keneally's novelized life of a German- Czech named Oskar Schindler, who came to Poland to make money out of its - occupation by the Nazis and stayed to preserve 1,100 Jews -- workers in the enamelware factory he established -- from the death camps...

Author: /time Magazine | Title: Heart of Darkness | 12/13/1993 | See Source »

...exalted place in the universe. Moreover, scientists have historic reasons to be skeptical of claims concerning animal intelligence. At the turn of the century, a wonder horse named Clever Hans wowed Europeans with his apparent ability to solve math problems, expressing his answers by tapping a hoof. Dutch psychologist Oskar Pfungst ultimately showed that Hans was merely responding to inadvertent cues from his human handlers, who, for instance, would visibly relax when the horse had tapped the proper number of times. When blindfolded by Pfungst, Hans ceased to be so clever...

Author: /time Magazine | Title: Can Animals Think? | 3/22/1993 | See Source »

Passionate and energetic by nature, Johnson felt most drawn to an Expressionist idiom. His particular heroes were Chaim Soutine (especially the convulsive Ceret landscapes) and, later, Oskar Kokoschka. At the outset, his homages to Soutine's surging hills and toppling houses had a somewhat illustrational tone -- painting from the motif, he sometimes used a distorting lens to produce the effect, as earlier landscapists had used a smoked Claude Lorraine glass -- so that the image turned out more optical than visceral. But as his sense of the relations between mark and motif increased, Johnson's landscapes accumulated power, and some...

Author: /time Magazine | Title: Return From Alienation | 8/31/1992 | See Source »

Over there, across the park, one saw the works of Max Beckmann, Max Ernst, Ernst Ludwig Kirchner, Oskar Kokoschka and others. The viewer could imagine what demons stood behind them: the creeping Jew, the scheming Bolshevik, the Negro with his thick lips and saxophone, the slavering pervert. In here it was all David and the Apollo Belvedere, noble simplicity and calm grandeur as $ interpreted by such heirs of Michelangelo and Polyclitus as Hitler's favorite sculptor Arno Breker and his court painter Adolf Ziegler. What kind of Germany, the two shows asked, do you want...

Author: /time Magazine | Title: Art: Culture On the Nazi Pillory | 3/4/1991 | See Source »

...such a milestone, it appeared that Germans felt they had had, at least for a while, enough of history on a grand scale. Christian Democratic Chancellor Helmut Kohl, 60, and his coalition partners took a 19-point lead into the election, seemingly assuring them of victory over Social Democrat Oskar Lafontaine. The anticipated margin was large enough to leave Christian Democrats fretting that it might be eroded by a low voter turnout. Said a civil servant in the Rhineland: "It's certainly no Schicksalswahl ((election of destiny...

Author: /time Magazine | Title: Germany To the Victors Belong the Bills | 12/10/1990 | See Source »

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