Word: stan
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While through a plexiglass window passers-by watched the hole grow, others watched the destruction of Hunt Hall with interest--and perhaps a tear or two. Film teacher Stan Lowder described the building as one of "dignity, of a type that will never be built again." The building was razed despite the protests of a committee of faculty and students to "Save Hunt Hall...
...high notes and revealed the saddening fact that Dizzy Gillespie at age 56 is slowly losing his chops. This did not keep Dizzy from playing five tremendous measures at the end of "A Night in Tunisia," although Dizzy, in deference, let Faddis blow the famous highnote ending. Tenor saxophonist Stan Getz and drummer Blakely also were particularly strong...
...A.T.P., now grown to 96 members, tried a legal counterattack, but a British court ruled that it had no jurisdiction in the case. So the players' group, which includes such U.S. competitors as Arthur Ashe, Cliff Richey and Stan Smith, decided that it had to stand on its own. After a three-hour meeting in London's Westbury Hotel, Drysdale announced: "This is the saddest statement I have ever had to make, but we feel we have no choice but to instruct our members to withdraw." After another meeting-which A.T.P. Executive Director Jack Kramer characterized as "wrestling...
...COUNTER cutting-edges of creative forces defining film essence, Stan Brakhage and Jean-Luc Godard have catalyzed complementary film movements. While Godard has brought to bear the history of abstract intellection in vivisecting the codes and conventions of bourgeois narrative film-making, Stan Brakhage has trans substantiated the history of abstract expressionism in creating an answer to the basic question "What is cinema?" Although academic film communities have identified with the analytical "specular text" -- the examining, form-destroying discourses -- of Godard and sentimentally embraced the "naive texts" of nostalgic cultural mythology, for example formula movies of unrestricted genres, Brakhage...
Subtly sophisticating the transmission of sensual information over the past two decades, Stan Brakhage has projected an inner vision (what you do see when you turn out the lights, when you close your eyes, when you change sight-thought relationships) through, and worn his heart on, his films. Consequently, any audience wishing to enter the kingdom of Brakhage must become as little children, must not wrongly expect "entertainment" but meet each image, sequence, film on its own terms. It must concentrate on learning to see how one sees -- how one comes to understand the worlds of fantasy and observation...