Word: styles
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Dates: during 1970-1979
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...dancing is spectacle enough. The three pieces, each the essence of a different style of ballet, are all choreographed with imagination and danced with most impressive technique. The second work, a series of Tchaikovsky Divertissements, though a virtuoso exercise, lacks the excitement of the other two pieces: "Songs," choreographed by Carol Jordans of the Cambridge School of Ballet to Mendelsshon's "Songs Without Words," and "Pas de Trois," choreographed by Hochberg to the allegro movement of Mozart's "Clarinet Quintet in A." In Jordan's work, the trio of dancers evokes Mendelssohn's past. Rosenberg's sprite, Hochberg's strength...
American films in the late 40s and early 50s were dominated by a style called film noir, as the optimistic excitement of wartime Hollywood gave way to a bleak mood of disillusionment and introspection. Directors turned away from the mythology of the American Dream to examine the darker sides of the American psyche: corruption, jealousy, greed, obsessive hate, and murder became crucial themes. Billy Wilder's Double Indemnity, showing in the Orson Welles's film noir festival is in many ways a perfect example of the genre. Written by Raymond Chandler, it stars Barbara Stanwyck as the sexy but neglected...
Capra's State of the Union (1948) is in no sense part of the film noir style, thought it too deals with political corruption. The uneasy balance Capra strikes between his exposure of corruption and his reaffirmation is very much the same as that of his films of the 30s, like Mr. Smith Goes To Washington and Meet John Doe. While State of the Union is politically the least sophisticated of Capra's serious films, it is also emotionally the most exhilarating. Hepburn gives the best performance of her career as the wife of Spencer Tracy, presidential candidate, who wins...
...imply that the camera is neutral, passive, recording life exactly as it reveals itself in front of the lenses. This pretense is discredited somewhat by the suspicion that people behave differently under the eye of the camera than they would otherwise. No such claims are implicit in the style of Grey Gardens--both of the main characters direct their attention, words, and action toward the camera. But one doesn't get the sense that the Beales' "performances" in any way belie their inner reality. Their performances are the reality--the personas they adopt, the way in which they wish...
...like six people all going in different directions...and occasionally our paths cross," one staffer said, commenting on the hit-or-miss style of this campaign and the problem of adjusting to it. "I think the schedule has worn on Kevin and Can somewhat. The rest of us knew each other before the campaign, and it was hard for the new guys at first to take the heat. They were on the defensive all the time...