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...Most of the large departments have switched to de-personalized instruction," said Giuseppe Di Palma, chairman of the Political Science Department at the University of California at Berkeley...

Author: By Laura E. Gomez, | Title: Gov Department Updates Graduate Study Program | 7/31/1984 | See Source »

...black-and-white '50s. Until now, their image of the man and his work was that of a brand name without a product. "Hitchcock" might suggest a certain kind of movie-suspenseful, shocking, grimly humorous-but one that was known secondhand, through the imitations of Brian De Palma, François Truffaut, Stanley Donen, John Carpenter, the James Bond series and a hundred gory slasher movies (the deformed children of Psycho). Now young viewers can enjoy the original Hitchcocks, all of which play variations on a favorite theme: the need for a guilty person to be discovered...

Author: /time Magazine | Title: Cinema: The Master Who Knew Too Much | 3/26/1984 | See Source »

Hollywood may try to change his mind. Starting with Brian De Palma's Carrie in 1976, each movie version has turned a profit (The Dead Zone has grossed $20 million since its late October release, while Christine has raked in a more modest $10 million). King's deftly spun tales of vampires, haunted hotels and psychically advanced humans have brought a measure of class and complexity to a genre domiated by crass scare films like Friday the 13th. "King creates youthful protagonists who are very much in tune with what's going on in the contemporary world...

Author: /time Magazine | Title: Show Business: Giving Hollywood the Chills | 1/9/1984 | See Source »

AILING. Joan Miró, 90, protean Spanish painter of playful, dreamlike canvases; gravely ill with deteriorating respiratory disease; in Palma de Mallorca...

Author: /time Magazine | Title: Milestones: Jan. 2, 1984 | 1/2/1984 | See Source »

Perhaps De Palma and Stone had aspirations of Godfatherhood: an operatic overview of the nation's immigrant black princes, a meticulous dissection of the relationship between crime and Big Business, a celebration of the American power ethic, a warning against corporal or corporate abuse. But Scarface lacks the generational sweep and moral ambiguity of the Corleone saga. At the end, Tony is as he was at the beginning: his development and degeneration are horrifyingly predictable; his death evokes not fear or pity, but numb relief...

Author: /time Magazine | Title: Cinema: Say Good Night to the Bad Guy | 12/5/1983 | See Source »

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