Word: styles
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Dates: during 1970-1979
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...preoccupation with the past with a typically modern concern with selfhood and alienation. His protagonist literally revels in his aloneness, his rootlessness, his inability to love. Nor is he content with a mere demonstration of his problems; instead, he explains them to us, over and over again, in a style that mixes the lofty literary references of academic--Jed is a medievalist at the University of Chicago--with Faulknerian neologisms and strings of appositives...
...WHAT SELLARS LACKS in cynical common-sense about the hard necessities of direction, he more than makes up in style. He has given the whole play a facade of try-anything spontaneity, and daredevil and slightly mad improvisation. Sellars' poster for the play is an unpretentious and quite ineffective quick Flair pen sketch. The program is a jumble of mad typing the night before the opening. All the orchestra seats in the Loeb have been moved backstage so that half of the audience sits at the bottom of the breath-taking canyon-like flyspace of the theater, and they...
...express the mood or emotional feelings he wishes, Kushnik paints a rainbow of "styles" into his songs--from the satirically self-mocking "A M-pop-hit-single" style of "Electric Eyes of Love" to a surrealist piano accompaniment of a laughing box, called "Opus 354: Sonata for Piano and Laughing Box." Or take the sentimental favorite. "New York City," which consists of three stoccato piano chords followed by a shout of get out of the way, you fuck." Bruce fittingly calls his music "Surrealist Neo-Classic Avant Garde Jazz/Rock and Roll...
...enfant terrible to Sir Walter, the liege lord of the game. Hagen was already displaying the waggish bravura that made him a gallery idol when he showed up for his first Open in 1913 at Brookline, the Crimson's home course. The Haig wore a garrish bandana tied cowboy style, a striped silk shirt, a plaid Scottish cap, and his wide laced brogans with the tongue moddishly doubled back over the instep...
PROVIDENCE is an inordinately self-conscious film. It is as though Resnais himself, aware of his failings, were trying in advance to counter expected criticisms. "Some say that in my work style replaces feeling," he has one of his characters pronounce. "I say that style is feeling, and its most elegant, economical expression." Style is certainly Resnais's forte. The whole film is an elaborate, often stunning attempt to find cinematic metaphors for states of mind, to link color and narrative mode to psychological perceptions...