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Pauline Kael, at one time arguably the best film critic in operation, has turned into the Hubert Humphrey of film criticism. She comes on chatty and playful when talking about film techniques, valuing good stars above acting and sensual excess over rigor, all the time letting us know that under that tigress bite of hers beats a heart which overflows with sympathy. She makes sufficient noises in the vague directions of liberalism to insure our recognition that she cares in the correct way about moral and political issues which the films she sees might raise. She is overwhelmingly ebullient...

Author: By Michael Sragow, | Title: Deeper Into Kael | 4/26/1973 | See Source »

...face repeating over and over the words "lip sync." But that is all: not much. In any case it seems a trifle late to be disinterring, once again, the idea of boredom as an aesthetic principle. Nauman's cool is of the kind that precedes rigor mortis...

Author: /time Magazine | Title: Art: Vapid Wunderkind | 4/16/1973 | See Source »

Excluding these questions from the field of economics--supposedly for the sake of academic rigor--leaves some important questions about the capitalist system unanswered. At best it seems somewhat silly, and at worst, it is suspicious ideologically to discourage an approach--in this case an anti-capitalist one--merely because so far it has not answered the important questions it has asked...

Author: NO WRITER ATTRIBUTED | Title: Tenure for Bowles | 2/22/1973 | See Source »

Freshmen prematurely caught in a bind between academic rigor and the desire for mass recognition need look no further than Thayer 7 for the example provided by the memory of Arthur Schlesinger Jr. '38, historian, adviser to two Presidents, and film critic for Vogue magazine...

Author: NO WRITER ATTRIBUTED | Title: Famous Names Haunt Harvard Yard Rooms | 9/1/1972 | See Source »

...Little Jack's Creek, 1970-is to convince you of the utter reality, the solid presence, of a completely surreal world, pinned and glued at all its joints and present in all its contradictions. He is a folkish artist (the varnished pine boards he uses, and the rigor of their joinery, are virtually illustrations of the American grain). From his constructions emanates a wild, laconic humor that is the obverse of puritan sensibility. But the environment that Westermann's images suggest has also to do with rootlessness: carnival sideshows-he was at one time a professional acrobat...

Author: /time Magazine | Title: Art: Midwestern Eccentrics | 6/12/1972 | See Source »

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