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It's not worth paying eight dollars to go see, but it's good enough to warrant renting it and rounding out the rest of the ticket price with a nice pint of Swiss Almond Haagen Daaz. Split the cost with friends. The best of both worlds, the perfect 24...

Author: By Shatema A. Threadcraft, CONTRIBUTING WRITER | Title: Wait for Re-runs of Southern Gothic Soap Opera | 3/20/1998 | See Source »

Slide projections, voice-overs and an offstage puppet theater spiced up what was an otherwise fairly homogeneous performance. Kitschy pop culture icons like Shirley Temple, Humphrey Bogart, and John Wayne kept the audience connected to the plot, and the voices of Dean of Students Archie C. Epps III as the...

Author: By Jamie L. Jones, CRIMSON STAFF WRITER | Title: 'Your Own Thing' Tries Revamping 'Twelfth Night,' Result Is Mixed | 12/12/1997 | See Source »

One would presume that, in any film of this length, a certain degree of repetition of plot developments and themes is inevitable. In fact, since Berlin Alexanderplatz deals as much with psychological devastation as it does with romance and criminal intrigue, it is to be expected that the protagonist should...

Author: By Erika L. Guckenberger, CONTRIBUTING WRITER | Title: Portrait of a Post-War Psyche Proves Marathon Mini-Series | 10/24/1997 | See Source »

The voice-overs themselves also sometimes make the mistake of equating randomness with profundity. In some cases Fassbinder's commentary succeeds in placing the events of the film in a broader historical context, offering statistics describing unemployment and death within 1920s Germany, or metaphors relating earlier events to the action...

Author: By Erika L. Guckenberger, CONTRIBUTING WRITER | Title: Portrait of a Post-War Psyche Proves Marathon Mini-Series | 10/24/1997 | See Source »

Although his screenplay was never produced, May says that during his film negotiations he learned many technical skills such as how to format a script, how to manipulate voice-overs and how to define character action while still allowing for actor interpretation.

Author: By Rebecca F. Lubens, | Title: Publishing, Performing And Poetry | 4/12/1997 | See Source »

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