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

There is no trace of the oppressive, gaunt quality of Bergman's earlier films. The Magic Flute is a work of such magic and belief that Bergman's agonized mysticism seems to have found a total release in the expression of another artist's orderly, God-filled universe. The film is sensitive, joyful, full of serious wit. One hates to say it, but classical opera is rarely so sexy or so much fun as this...

Author: By Kathy Holub, | Title: The Magic of Two Masters | 1/16/1976 | See Source »

...shaped in McMurphy's hands, and McMurphy is basically out to have a good time--for him that means "fighting and fucking." Since there's precious little of the latter in the all-male ward, he is reduced to a stance of constant truculence which eliminates any trace of compassion he might have ever felt. The funny thing about Forman's film is the complete disharmony between any objective evaluation of the facts and events of the film and the attitude the film clearly wants you to take towards them. Perhaps an analogy would be watching a Nazi propaganda film...

Author: By Paul K. Rowe, | Title: Off the Bus, Off the Wall | 1/14/1976 | See Source »

...spit, for you to trip over and break your neck. There is a mystique about snow in the South. I think it is because it vanishes so fast. It doesn't stay and harden to annoy you with its grey horror, but leaves, like a good guest, without a trace, so it is sometimes even hard to believe it happened...

Author: By Anne Cherner, | Title: New Year's | 1/13/1976 | See Source »

...much more familiar to the closeted squash-fans is the image of bespectacled and upwardly-mobile contestants, cavalierly brushing their brows of a trace of perspiration, exiting separately and continuing on, no doubt, to sedentary careers as bankers and multinational corporation moguls...

Author: By Nicholas Lemann and Philip Weiss, S | Title: Local Color | 12/16/1975 | See Source »

FRANTISEK KUPKA, along with his better-known contemporaries, Kandinsky and Mondrian, pioneered abstract painting. To look back at his prolific work is to trace the history of twentieth century aesthetics, and the development of an art that tries to embody concepts--non-objective art. Born in 1871 in Czechoslovakia, Kupka came to Paris, the center of artistic activity in 1896, and soon settled down in the suburb of Puteaux, where he lived the rest of his life...

Author: By Eleni Constantine, | Title: Reflections in a Mirror | 12/16/1975 | See Source »

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