Word: space
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...consider not only "The Case for ROTC at Harvard" but the entire ROTC memorandum to be worth the careful scrutiny of the Harvard community, and hope that the CRIMSON will reprint other sections and give opponents of ROTC space to reply. We are not disinterested parties, but opponents of ROTC who feel that the fullest and most informed discussion of the issues can only help our cause. To quote a paragraph from Col. Pell's covering letter...
...Space Odyssey. Stanley Kubrick's version of human and technological evolution as controlled by a mysterious black monolith that appears when the sun, a planet, and its moons, are in orbital conjunction. Cinerama, as such, has never been used better, and the special effects are revolutionary. I don't honestly think anything more need be said about 2001 at this point. Should anybody want to read the official CRIMSON interpretation, the long review by Peter Jaszi, Steve Kaplan, and myself, has been reprinted in the current issue of Film Heritage...
...surroundings. In the early films (Fallen Angel, Angel Face), money, sexual abberation, and class distinction had much to do with the ultimate failure of Preminger's struggling protagonists. But increasingly, external dramatic pressures play a less important part--the determining factor becoming instead Preminger's own camera treatment of space, his cross-cutting techniques, his ultimate vision. No one seeing Skidoo can deny that the Mafia threat (central to the plot) is secondary in moving the action to the power of Preminger's decision to control personally the behavior of his characters and the structure of his film, disregarding saner...
Preminger has always used photographic space as a prison to trap his characters. In Skidoo the brilliant opening confirms beyond a doubt that Preminger's art is visionary (note the shot, when Gleason and Arnold Stang go upstairs, consisting entirely of croped details of frame elements, showing nothing as an independent whole). More simply, Preminger films the wide-angle claustrophobia of a Hippie bus to contradict their professed freedom, just as the immaculately confident space of the California courthouse is violated by the encroaching teen-agers. If we know how to read the content of Preminger's images, Skidoo...
...work on a canvas while it was still wet. He found it almost impossible to think of a painting as finished, frequently took back ones he had sold and com pletely reworked them. He called the process "ripening" and likened himself to an inchworm reaching out tentatively into space from the end of a leaf. "I am trying to find something out there beyond the place on which I have a foot ing," he said. The result was that each canvas, with its endless layers of paint drying at different rates, was sure to crack and darken with...