Word: exploitation
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Dates: during 1990-1999
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...long-stalled Israeli-Syrian peace track, this counted as a major breakthrough and one that three men--Assad, Israeli Prime Minister Ehud Barak and President Bill Clinton--were eager to exploit. The ailing Assad, 69, seems eager to seize this chance to get back the Golan Heights, which Israel appropriated in the 1967 Six-Day War. Barak came to power pledging to entice Syria back to the negotiating table. And Clinton, who quickly arranged for Barak and Syrian Foreign Minister Farouk Shara to start the talks in Washington this week, was hungry for a foreign policy triumph after the disastrous...
...which Rothenberg attempts to reconcile several different viewpoints within the same painting. She experiments and takes chances, which conveys an excitement and a curiosity that makes these paintings successful. To see this experimental quality combined with the facility of an artist who really knows how to paint, how to exploit her medium and make oil paint do things you never thought it could do, makes this exhibit relevant, important and pleasurable to behold...
...reputation for his ability to exploit his character's internal conflicts in any time or place, be it Jane Austen's England in his 1995 release Sense and Sensibility, or the alienated '70s suburbia of 1997's The Ice Storm. Yet his latest project, Ride With the Devil, based on Daniel Woodrell's novel Woe to Live On, reflects the damage too much praise can have on a director. All that distinguishes Ride with the Devil as anything other than a glorified action flick is a splattering of historical nuances and the occasional flirtation with character complexity...
...Catharsis or not, Liza refused to join her sister in a couple of tributes to Judy Garland at the London Palladium and Carnegie Hall. "I've never gotten involved in those things," says Liza. "I sometimes resent that they use [my mother] for stuff. I don't want to exploit her. I've never exploited either of my parents. What I'm doing is a celebration...
...scenes in the first act follow with an almost anticipated sense of fatality. Agresta, now as Helen's mother, manages to exploit the tension of the production; she must emote, yet her dialogue must appear to be a sardonic condemnation of maternal care. A genuine frustration at the play's emotional detachment resonates with the audience as the mother forces her daughter to eat a potato. However, the play becomes too rapidly melodramatic too early, as the sense that the characters are mocking themselves undermines the growing emotional tension in the play...