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Juniors Dave Harman, Rod Peterson, Kim Kiley, and Dick Moore are the returnees from last year's varsity boat...

Author: By J. J. Hines, | Title: Depth, Endurance May Carry Lights To Third Straight Unbeaten Season | 3/27/1970 | See Source »

...competition, although labeled "World Championship" by its promoters, is meaningless as an indicaton of national tennis superiority. Neither of the top two players in the world, Australians Rod Laver and Tony Roche, chose to enter the tournament...

Author: NO WRITER ATTRIBUTED | Title: Australians Take Tournament Lead | 3/11/1970 | See Source »

...search of an important audience. This much is true: when Antonioni waves an American flag outside the window of a soul-less real estate tycoon, he is not out to educate his audience as much as confirm their existent prejudices. A Jesus Saves sign looms briefly out poor Rod Taylor's window. Here I air a prejudice of my own. I would rather have my symbols built openly into a-film's structure (like Hitchcock's Tonight Golden Carls sign in The Lodger, or Hawks's The World is Yours-Cook's Tours sign in Scarface ), than hold...

Author: By Tim Hunter, | Title: In Search of 'Zabriskie Point' | 3/11/1970 | See Source »

...Mark into some kind of militant action, the second half leads to a martyrdom which jolts Daria into a more responsible state of consciousness. Presumably she exits the film with enough commitment to end her complicity with a destructive society, an involvement symbolized by her attachment to the, businessman, Rod Taylor. Again, her basic reflexes are sound. Antonioni suggesting that she is capable of reaching a decision to resist forces' Antonioni condemns. In a brief meeting with some beautiful deranged children, corrupt as the angelic demons that end Fellini's Toby Dammit and La Dolce Vita, Daria is threatened...

Author: By Tim Hunter, | Title: In Search of 'Zabriskie Point' | 3/11/1970 | See Source »

...Panavision camerawork, gratifyingly messy after Blow-Up's superficial neatness, often frames with disturbing ugliness objects in unfamiliar proportion to one another. A low-angle shot of Rod Taylor in his office-the underside of his desk filling two-thirds of the frame-is troubling by virtue of its compositional imbalance, not its overtly ironic content. Particularly in interior scenes, Antonioni recognizes that destruction of form within a Panavision screen can be used thematically, for example to warn against America's depersonalized computer jungles. In this he becomes the thinking man's Frank Tashlin ( Bachelor Flat, The Girl...

Author: By Tim Hunter, | Title: In Search of 'Zabriskie Point' | 3/11/1970 | See Source »

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