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Kodak at first regarded Land's invention as a toy whose high price ($88 initially) and complexity would deter the average snapshooter. But the camera sold well. In the 1960s, when Polaroid's prices dropped dramatically (as little as $20 for a Swinger), Kodak began cracking on its own process. Says David Eisendrath, a photo consultant for TIME and Modern Photography: "Kodak finally realized what Polaroid knew from the start-that there are people who want to take good pictures, and other people who want to see them as fast as possible. The latter group is much larger...

Author: /time Magazine | Title: PHOTOGRAPHY: Instant Battle: Kodak v. Polaroid | 4/26/1976 | See Source »

December 24--Christmas Eve. The Chileans did all their last minute shopping today, not in the handful of fancy stores, whose owners complain in the newspapers that business has fallen off, but from a horde of street vendors stretching five blocks who were selling things like home-made wooden toy trucks and paper party noisemakers. About a million kids bubbled through the streets with their parents...

Author: By Dan Swanson, | Title: Santiago Diary | 4/21/1976 | See Source »

...glacial unconcern for people as people. Ian Richardson, on the other hand, is too humane to treat Eliza as a phonetic retard. For him, she is an emotional event. Despite Shaw's impassioned lip service to English, he often treated it either as a handgun or a toy. Richardson treats it as the lineal descendant of Shakespeare. The text cannot always bear the weight of that sort of gravity and eloquence. As Eliza, Christine Andreas has the richness of voice that one associates with opera-and, alas, some of the same crimped acting range. She is a more warm...

Author: /time Magazine | Title: The Theater: Loverly | 4/5/1976 | See Source »

...chief playing surface at the Olivier is a 40-ft.-in-diameter revolvable drum. This is a most ingenious toy. It can split into two half-moon elevators, with one half dropping to the basement while the other half comes up with a change of setting within seconds. They can be positioned at different heights to create a split-level stage. The third theater, the diminutive Cottesloe (capacity 400) is a simple box. Wood-lined, it is 75 ft. long, 47 ft. wide and 24 ft. high. Experimental in intent, the Cottesloe gives a director the choice...

Author: /time Magazine | Title: The Theater: A New Treasure on the Thames | 3/15/1976 | See Source »

...example--LaZebnik draws his chief inspiration from literary classics rather than from the contemporary American scene. His technique, like Tom Stop-pard's in Rosencrantz and Guildenstein are Dead, is to abstract well-known characters from their original dramatic setting and place them in an absurd world where they toy with the conventions of language, and quest--unsuccessfully, of course--for the meaning of their existence...

Author: By Julia M. Klein, | Title: Mad About Purgatory | 3/5/1976 | See Source »

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