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...Labor Party is largely financed by the trade union movement, in parallel with which it grew. It favors economic equality in society but is laboring under the difficulties of having to manage a "mixed economy"--that is, an economy in which some industries are nationalized and some...

Author: By Kevin Carey, | Title: The British Struggle | 2/26/1974 | See Source »

...often does in his moments of emotional oratory, Nixon seems to have gone beyond the bounds of fact and good taste. A sample of Lincoln scholars was appalled. "I'm outraged," said Donald. "I don't see a hell of a lot of parallel myself," said Historian Bruce Catton...

Author: /time Magazine | Title: THE PRESIDENCY by HUGH SIDEY: Trying to Get Right with Lincoln | 2/25/1974 | See Source »

...circular upper hall with its white cupola is bathed in electric light, and from the depths of the station, along two parallel escalators, Muscovites rise to meet us in serried ranks. They all seem to look at me as if expecting me to shout at least one word of truth. Why am I silent? ... Because these Muscovites standing on the escalator stairs are not numerous enough; my cry would be heard by 200, perhaps 400 people. But what about my 200,000,000 compatriots? I have a vague premonition that one day I will scream out to all those...

Author: /time Magazine | Title: SOVIET UNION: Solzhenitsyn: An Artist Becomes an | 2/25/1974 | See Source »

During a very few moments of the film, however, Bertolucci's visual style sparkles sufficiently to overshadow the shallowness of the film as a whole. A few shots of books stacked in mounds in Jacob I's room are satisfying in terms of the parallel they make with the Roman ruins outside. The landlord Petrushka (Sergio Tofano) who wants to be treated like a servant, is a fascinating minor character. These are the sort of minor elements with which Bertolucci built his better films, but in Partner they come to no avail...

Author: By Richard Shepro, | Title: A Sense of Death | 2/21/1974 | See Source »

...imposed, artificial order on the surface" (this is supposed to be symbolized visually by recurring shots of clocks, rows, columns, etc.) hides a world of "chaos underneath" (symbolized by smoke). This is "counterpoint." There is also a set of "misconceptions" and "red herrings" in the plot line which parallel this visual theme...

Author: By Richard Shepro and Richard Turner, S | Title: Hollywood at Harvard | 2/14/1974 | See Source »

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