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...earlier films, his approach works, and not just because his talkative superstars sustain one's interest without a dramatic plan. Warhol's first films were long static takes of nearly motionless objects- the Empire State Building, a man sleeping. Despite their notoriety for selecting events and objects at random, and thus trying to destroy designed art, these films pushed cinema to its fundamentals and were Warhol's purest formal works. A subsequent series of sharply lit deep-focus features sustained interest through one's shifting attention within the static frame. One continually rediscovered the composition's different elements...

Author: By Mike Prokosch, | Title: The Moviegoer Lonesome Cowboys at the Orson Wells Cinema through Tuesday | 11/1/1969 | See Source »

...lawyer and political scientist who entered politics 23 years ago, the new presidential candidate defines his position as "neither to the right, nor to the left, nor in a static center, but onward and upward." Just how quickly Echeverria will move, however, remains in question. Stable leadership has given Mexico four decades of political and economic progress, while South American nations have suffered 40 coups since 1930. Recently, however, the party has displayed an increasing reluctance to stay in step with the times...

Author: /time Magazine | Title: Mexico: Next President: Not Left, Not Right | 10/31/1969 | See Source »

When it opened on Broadway 18 years ago, Paint Your Wagon was slowed by a static book and a production as badly in need of girls as its miners. On paper, Lerner's improved libretto-and a score with some new music by Andre Previn-seemed to hit the mother lode. But that was before the director made it a fool's Gold Rush. Lee Marvin has done what he could to give the wagon a push onscreen. But the only motion that can give this Loganized vehicle velocity is promotion...

Author: /time Magazine | Title: New Movies: Fool's Gold | 10/24/1969 | See Source »

Second Step: Deployment of the Static Unit...

Author: By Richard E. Hyland, | Title: Can We Know the Dancer from the Dance? | 10/22/1969 | See Source »

...represents one of our pathetically few sources of "information." We are corrupted by television even if we have never gazed upon it, for we must live among those who have gazed upon little else. I admit that it is difficult to abstract from those tiny colored images, largely static, to the minds of those who watch TV eight hours a day. Watch Hugh Downs or Ed McMahon punch those Concentration buttons, as they organize the soothing pairs to yield prizes and bathe pasteurized viewers in the emulsified applause of the studio audience. You are conditioned. You must react with considerable...

Author: By Chris Rochester, | Title: The Living Room War | 10/9/1969 | See Source »

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