Word: themes
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Dates: during 1970-1979
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Bear in mind that what makes the film a genuine offshoot of Nashville is its structure, not its theme: Rudolph's script is indeed relating Carroll's story but it is not focusing on him. No real overriding social commentary can be gleaned from Welcome to L.A. that compares with the heavy-handed moralism of Altman's Nashville vision. Instead, the state of the American psyche is Rudolph's primary preoccupation. He dubbed the genre of Welcome to L.A. "emotional science-fiction--it shows what will happen if we don't watch out." And his own words capture the essence...
Once again, a regional theater has taken a commendable gamble on the sort of theme that gives a Broadway producer the shudders. T.E.K...
...perhaps the question, "With a library down the street, why do we need an encyclopedia?" First, the student must set down short answers to a battery of questions framed in the special Van Nostrand jargon: What is the reader's "frame of reference"? What is the "organizing idea" (theme) of the paragraph? What "set of information" (facts) will be worked into the paragraph? Only after dutifully outlining the requirements can the student begin to write. When he is finished, he must analyze the paragraph and explain -again on paper-whether his "organizing idea" survived the actual writing process. Finally...
...Studs Terkel. Although he earned patchy renown as a Chicago radio-TV personality, Terkel's national prominence came through three books crammed with transcripts of other people's conversations: Division Street: America, Hard Times and Working. The subjects changed with each book, but Terkel's theme did not: I hear America speaking. All the while the most provocative talker was a rumpled man with floppy white hair and an omnipresent cigar-the one who was asking the questions, and listening...
Boozy Sessions. Schubert's Songs is not a how-to-do-it book, although musicians might profit from the author's insight. In discussing the song cycle Die Winterreise (Winter Journey), that stark "chain of variations on the theme of grief," the author notes a brightening of atmosphere brought about by a transition from the minor to major key. Singers beware, he warns: "Things seem less desperate-but Schubert is not finished yet. By reverting to the acerbity of the original minor mode during the postlude, he rules out any possibility of self-indulgence or sentimental self-pity...