Word: showing
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Dates: during 1960-1969
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...must show that the role of the university is not neutral," Sargent said. "We attack it for exploiting its own workers." He criticized more moderate groups like the Moratorium and the Student Moblization Committee (which is planning a November march on Washington) for seeking faculty and administrative support for their efforts. "You don't ask a boss to participate in your strike," Sargent said. "The university not only is imperialistic; it is itself a boss...
...University's effort "to show its sense of responsibility to protect its Faculty and employees in this kind of situation...
Nader's working habits are admittedly unorthodox, but most of the bizarre components of the Ralph Nader Lone Crusader myth are obviously the offspring of bureaucratic imaginations gone beserk. One element that is genuine, however, is Nader's reputation for putting on a good show. His victims have learned that Nader has an astounding knack of attracting publicity and using the press. He consistently loads his public statements to contain the right mixture of documentation and verbal flamboyance (in the McGovern testimony, for instance, hot dogs with a high fat content became "fatfurters-American's deadliest missiles"). In his increasingly...
While we watched the halftime show, we got into a discussion of politics, bound to be elementary and short-lived among people like us. They knew about Louise Day Hicks, so we talked about that for 15 seconds. Then they wanted to know if our jocks were politicos. I really wanted to pay attention to the show rather than talk, but they couldn't understand such enthusiasm about a band. So I told him some of the jocks were interested in politics, which I think is true. As does everyone else, they asked if there had been any action here...
...fixed reality, and hold his camera in a long deep-focus shot while dramatic action takes place nearer or farther from the camera. Rossellini's spaces are no less real, but he reveals the truth of a scene by following the characters with his camera, strengthening certain actions by showing them close up and excluding others from the frame. In an early scene de Sica enters Nazi headquarters. The camera tracks after him through a dark archway while a Gestapo motorcycle runs by him from the interior courtyard. Inside, de Sica enters an anteroom to find it full of people...