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ZODIAC AND SWASTIKA: HOW ASTROLOGY GUIDED HITLER'S GERMANY by WILHELM WULFF 192 pages. Coward, McCann & Geoghegan...

Author: /time Magazine | Title: Books: Wulff! Wulff! | 8/20/1973 | See Source »

...retiring as president, Hayakawa, 66, was presented by dissident students with a T shirt emblazoned with a swastika. "To some of you, I am a racist pig," responded Hayakawa. "To others, I am the savior of the university." But he had had enough of both roles. "I would hate like hell to do this again," said the semanticist in simple English...

Author: /time Magazine | Title: People, May 28, 1973 | 5/28/1973 | See Source »

...movie can fully answer that question, but any film that can give a partial reply, in documentary terms, seems automatically destined for success. The only candidate for honors among the revival flicks is a remarkable documentary called Swastika. Produced by 36-year-old Englishman Sanford Lieberson (Performance) and directed by a 23-year-old Australian newcomer named Philippe Mora, it began as a research job on the copious surviving archives of Nazi film after Lieberson bought the rights to Speer's Inside the Third Reich. But what altered the film makers' intentions was the discovery, by Film Historian...

Author: /time Magazine | Title: Time Essay: The Hitler Revival: Myth v.Truth | 5/21/1973 | See Source »

...situation resembles the old Sherlock Holmes solution of a crime because of the curious behavior of the dog in the nighttime - curious because the dog did nothing in the nighttime. The banality of this view of Hitler at ease is the message, as always with home movies. Most of Swastika consists of previously unused material from professional Nazi films, mainly propaganda and newsreel, tightly edited together so as to present the illusion that Mora had sent a documentary team 40 years back into the Reich. The home movies make it seem as though Andy Warhol tagged along...

Author: /time Magazine | Title: Time Essay: The Hitler Revival: Myth v.Truth | 5/21/1973 | See Source »

...strong a sense of its pervasiveness, or the methodical detail with which it was grafted onto the twin German traditions of folk and high art. Goebbels' cameramen, filming the gnarled peasants at work or the shiny, hopeful faces of village children baking festive rolls in the shape of swastikas, were building on the most popular traditions of 19th century German genre painting-that volkisch sentiment that was Germany's equivalent to America's image of frontier virtue. One sequence says it all: a choir singing carols beneath a light-baubled Christmas tree in a village square...

Author: /time Magazine | Title: Time Essay: The Hitler Revival: Myth v.Truth | 5/21/1973 | See Source »

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