Word: verbalizations
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Dates: during 1970-1979
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...emotions rendered with vivid eloquence; to the visually-oriented modern film-maker, it is a pain in the ass. In movie versions of great poetic dramas, nervous directors often move their cameras too much, nor enough, or at the wrong times, and the result is that visual and verbal elements constantly elbow each other aside, yielding neither great drama nor great film, but a tentative mess with little emotional force of its own. It is highly significant that perhaps the fullest realization of Shakespeare on film, Akira Kurosawa's Castle of the Spider's Web (Macbeth), is in Japanese...
...Knowing the median verbal aptitude of our students, I'm sure they will coin a slogan befitting the significance of the occasion," Horner said yesterday...
Reinhold Aman is the name in pejoration, not to mention invective, vituperation, obloquy, opprobrium, objurgation, abusive epithets and billingsgate. Aman, 41, is the editor of Maledicta, the International Journal of Verbal Aggression, which he publishes irregularly out of his home in Waukesha, Wis. He can curse in 200 languages and, with the possible exception of Don Rickles, he is the only American who makes a full-time living out of insults...
Aman has a tip for Americans wishing to improve their verbal-abuse techniques: "Look for a distinguishing characteristic. Each of us is deviant in some way. For instance, I wear glasses, I'm five-foot-seven, 20 pounds overweight, have short hair and a Kissinger accent. So you could start off calling me a fat, four-eyed, runty, reactionary, sewer-mouth Kraut." Still, he considers it unsporting, and sometimes destructive, for cursers to pick on physical characteristics. Says he: "Insults should be aimed at behavior, something a person can change...
...Such verbal snapshots form the documentation for Croce's broader, harder judgments, particularly on fads that have parasitically grown with the popularity of ballet. "Reviewing should function like a Food and Drug Administration," she notes, "even if that function is largely futile." What she calls "pop ballet" is a particular target: "Whole repertories (the Stuttgart Ballet) or parts of repertories (the Jeffrey, the Ailey) devoted to slick approximations of the higher article." In an essay called "Selling It," she has very harsh words for the American Ballet Theater, which she accuses of merchandising stars in shoddy productions while neglecting...