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Word: technicolored (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...heroes stepped rather like late-Renaissance princes. Robert Fitzgerald, Harvard's Boylston Professor of Rhetoric and Oratory and a poet (Spring Shade, 1971) in his own right, has cut back on the pomp without scaling down the epic. His battlefield seems bleaker-black and white rather than Pope technicolor. His protagonists are closer to Beowulf than to Sir Gawain and the Green Knight. The blank-verse lines may flex to a Homeric simile, but in combat they are as direct as a dagger thrust. What Fitzgerald has done is provide all that a late-20th century translator...

Author: /time Magazine | Title: Books: War and Peace | 12/23/1974 | See Source »

...learn something interesting from an animal movie, but I didn't go to the theater to learn--learning was strictly a five-day-a-week job. Most Americans do go to the movies just to have fun, to escape from sordid reality, to see their fantasies played out in Technicolor. We've all been taught that the function of film is to entertain. Films, after all, are the product of an "entertainment industry...

Author: NO WRITER ATTRIBUTED | Title: Scattered Images: Movies as History | 10/23/1974 | See Source »

They are shown a technicolor movie about the development...

Author: /time Magazine | Title: Special Section: The New American Land Rush | 10/1/1973 | See Source »

This kind of glib trendiness sloppily obscures both the origins of student rebellion here and the changes it has undergone in the past year. The very real events which quickened the anger of students--most notably the war in Indochina--are purposely forgotten by the technicolor pictures, the catchy, cute Times, the mock attempt to mix levity and analysis. The vapid generalization and the smug cliche vie for supremacy, and the product passes for hard-won analysis...

Author: By Dainel Swanson, | Title: Harvard Was Quiet, But Vietnam Will Win | 9/1/1973 | See Source »

...gangster movies of the thirties and forties didn't need Technicolor bloodbaths to draw audiences. They were thrilling melodramas, gripping in their own right. In Dillinger, all we see are static moments in time without a sense of cause-and-effect. The bloody episodes are strung together with little continuity, merely reaffirming the adage that crime doesn't pay. Life is continually lost to no avail. The gangsters never even seem to have a chance to spend their money. How can we glorify Dillinger? He seems no more than a crook...

Author: By Tina Sutton, | Title: Dillinger Dies a Dummy | 8/2/1973 | See Source »

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