Word: sirens
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Dates: during 1960-1969
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...does not know his own parents and was brought up by a guardian whose strict moral precepts still order his life. Perhaps this is why Hind gradually comes to think of himself as the savior of what McElroy calls the "placental" city. Hearing the police emergency siren, Hind "imagined vehicles fading to the side to give way, his own long arms stretching over the heights and depths of the city to whatever injured or dead or suicidal person or persons the truck was going...
...worst was to come after the game, Stuck in traffic. trying to exit from the parking lot. we noticed a group of quite drunken merry-makers of the 1948 clubbie vintage. One of them was marching around the lot sounding a rand-held air raid siren in car windows. Another passed from car to car with a rubber chicken in a pot. Suddenly one of the revelers ripped a peace sticker from my bumper and pasted it across my front windshield. A take-off on the jingoism of "love it or leave it," the sticker read "America-save...
...dreamed about females. What's more, Playboy wasn't interested only in sex. It was the sort of magazine you could read on the Long Island Rail Road because it also published stories by legitimate writers. But lately I have been attracted by your siren song (if full-page newspaper ads can be called that...
Truffaut's latest release (not yet seen in the U.S.)- The Siren of Mississippi -retains the loving detachment of his other films. It also signals a kind of return to Jules and Jim. exploring the constantly changing relationship between two people (Jean-Paul Belmondo and Catherine Deneuve). The changes in their relationship are frequent, radical, and usually unpredictable...
...shot as the man begins running to cells, banging on their doors, and yelling "they've tortured General della Rovere." As they begin a noisy riot. Rossellini cuts to an agitated close-up pan over the walls. Similarly, a scene in which the prison is airraided begins with a siren and a quick zoom up into windows at the end of the prison hall, and continues in zooming in and out of the hall. Though Rossellini in both cases uses devices which intensify emotion, he becomes in these shots more concrete, more closely engaged with the physical world. In Murnau...