Word: tells
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Dates: during 1960-1969
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...believe that we will achieve a just peace in Viet Nam," he went on. "I cannot tell you the date, but I do know this: that when peace comes it will come because of the support that we have received, not just from Republicans, but from Democrats, from Americans in this House, in the other body [the Senate] and throughout the nation." Nixon's speech, delivered as the peace demonstrators assembled for the first of their marches in Washington, was in many ways more persuasive and candid than his TV address to the nation. As he left Washington...
...tell under Blaine's attack for thinking that the university, instead of being "essentially neutral . . . should make itself a political force . . . by counteracting certain forces which they feel as evil-undermining the Armed Forces, for example, by eliminating ROTC or . . . denying the government access to university facilities...
Though the camera tracks with her through the crowd, the surrounding night gives us the impression that the world is moving, not the frame. When the plane lands and the crowds breaks into a run, becoming suddenly much more distant, it's impossible to tell whether the camera or the people have moved. All we're sure of is the shining face of a woman pushing through a crowd, speaking the nonsense announcers spin out when they've nothing to say, hunting for a man whose location and identity are in question. Instead of defining the situation, showing us clearly...
...Rules is designed visually to prevent our making sense of any setting. Christine's husband appears in the hall in mid-shot: the space is deep and rectangular, we ought to be able to tell where he is going. But as he walks into it the camera tracks wildly across his back, completely changing the dynamics of the space. On the left the room seems to extend quite far, but as he walks we find that a mirror has created an illusory depth, that the space is ordered quite differently than we thought...
...apparent resolution the film becomes completely chaotic. Octave and Christine. alone in a greenhouse in the park, decide to elope. The light falling on the scene is so broken that their faces and their surroundings are fragmented into patterns of light and dark. It becomes impossible to tell where a character ends and the setting begins; they have become a single meaningless surface. Indeed, one man watching them mistakes Christine for his own wife and later, mistaking Jurieu for Octave, shoots...