Word: whose
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Dates: during 1960-1969
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Critical thought cannot flourish in a hierarchical academy whose organization faithfully mirrors the present economic organization of society. Grades can force people to study national income or genetics or Shakespeare, but they militate against the study of a new, humane society. And they foster the illusion that there are no alternatives to an economic system based on contrived, sterile incentives, and operated for the benefit of the few. By ridding ourselves of this academic system, we will be creating a model of an alternative system of work--a system in which people work because they want to, because the work...
Someday, someday soon we all pray, that wonderful, blind world will again be open to the undergraduates whose youth is being robbed. They are right, my romantic heroes, they should not be at Harvard, it is forcing them to make compromises, it is squeezing the life out of them. Maybe the university will have to recognize this, and change its requirements until the war ends...
...alive. The more extreme of these deeds are supported by a host of lesser strange touches, partly in Ulmer's visual style and partly in the fine acting. These touches make the film the masterpiece it is. They constantly reveal the personalities of the characters--especially the two leads, whose traits and drives take in all mutations of moral position and psychological experience. Karloff initially seems perverse and decadent; Lugosi, virtuous. But Lugosi's night-marish past experience and present insecurity drive him to acts of dreadful savagery even as we begin to see that Karloff's aristocratic veneer conceals...
...events are odd. Certain branches of the novel of personal change have long toyed with extreme metaphors for psychological and moral progress. Poe and Hawthorne, for example, used poison and death in connection with love and self-realization. The moral weight they put on psychological experience resembles Freud's--whose ideas are so dear to American screenwriters. Ulmer is certainly Freudian--see Ruthless or Murder is My Beat. But his stylization moves him beyond Freud in his view motivation and personal development. The rapidity of the changes he puts his characters through makes these changes seem ambiguous, part...
...talented painter whose one-man show at the London Institute of Contemporary Arts includes his meat and salad paintings...