Word: potemkine
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...Pike only more so, announced recently from the pulpit of Canterbury Cathedral that he had recently traveled to America and there found that 'every Christian I met' was opposed to the war in Viet Nam-a statement which, if true, suggests that the bishop was given a Potemkin tour of the U.S., visiting only the fever swamps of the Christian left; or, and this is more likely and more charitable, that the bishop does not know a Christian when he sees one, even as, one must conclude on reading his books, he does not recognize Christianity when...
HITCHCOCK: Well, all detail in the literature of the camera applies to most situations. It is how you use the intimacy and detail. In Potemkin, of course, you have the permabulator going down the steps, and the incident is repeated several times at several angles -- you remember that. Well, I think it's a matter of using the language of the camera which is so flexible and free. The beauty of the camera is that you can photograph anything you want and make and comment you want...
...Camarioca compound proved to be a sort of Cuban Potemkin village. The government was working around the clock to landscape the area with flowers and shrubs, build cottages, ad ministration buildings and new dock facilities. For the refugees inside, there was free lodging and three meals a day, the kind of meals Cubans only dream about-chicken, lobster, steak. "I'm astonished," said one exile, who was returning for his brother. "They gave me free gasoline for my boat and even fixed my water pump free...
...years pass it becomes harder and harder to appreciate Sergei Eisenstein on his own terms. By now his innovations have become either conventional or out-moded. His stories are unabashedly didactic: Potemkin was rushed through production in time to commemorate the 1905 uprising Nevsky was made as anti-German nationalistic propaganda in 1939, and Ivan was created as a pageant of Russian national unification...
...Battle hip Potemkin is possibly the purest example of Eisenstein's descriptive technique, which he called "montage." Working from a simple, almost schematic series of events, Eisenstein tries to translate the story's social consequences into visual images--faces, gestures, and objects. He isolates fragments of an event and strings them together like the parts of a sentence, which qualify each other and add up to a statement. Certain images become symbols: the surgeon's pince-nez stands for the surgeon and in turn for the Czarist authority he represents...