Word: screens
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Dates: during 1960-1969
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...complex MSR (missile site radar). MSR then directs two types of ABMs against the incoming warheads. The long-range Spartan is designed to make an intercept above the atmosphere, at altitudes between 200 and 400 mi. The smaller Sprint would seek out and destroy warheads that penetrated the Spartan screen by intercepting them within 40 miles of the target...
...Sprint would journey blind. A nuclear blast outside the atmosphere can create radar blackouts lasting critical tens of seconds, as both U.S. and Soviet tests demonstrated in the early 1960s. A "precursor warhead," launched just ahead of a missile attack and detonated as a kind of nuclear smoke screen for the following ICBMs, could black out U.S. perimeter acquisition radar and disrupt the ABM defense...
...moral situations of his characters to the moral and dramatic scheme of the entire film. His particular, momentary conception of character and dramatic situation are unified with his general view of life and conception of drama by the continuous development of the characters' situations we see on the screen. Films actually do what novels only metaphorically do to create a drama: put characters in situations. The fact that film requires mise-enscene explains everything. It also makes Lola Montes possible, for the film is above all the development of a character in physical settings. Film does exactly what the circus...
...American film maker has yet achieved the stature of Italy's Visconti or Britain's David Lean, a handful seem to be well on their way: ∙ ARTHUR PENN. A product of television and stage work, Penn successfully brought his Broadway hit, The Miracle Worker, to the screen. At first, he proved better at transferring than at creating. His early experiment, The Left-Handed Gun, starring a self-conscious Paul Newman as Billy the Kid, paid heavy homage to the Actors Studio. Mickey One was a sedulously Francophilic film with Warren Beatty in the unlikely role of Everyman...
...public's affection for the bestseller was pallid compared with Wayne's. The Duke offered to buy the screen rights for $300,000. "I knew right away that Rooster Cogburn was a character that fit my pistol," he said. "He even felt the same way about life. He did not believe in pampering wrongdoers." Eventually, Producer Hal Wallis outbid Wayne-but Wallis provided an appropriately happy ending by hiring the superstar to play the role...