Word: cinema
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...Morgan Stanley team, led by Joseph C. Fogg III, has advised Carter Hawley Hale, the California department-store chain, on strategies to protect itself from a $1.1 billion hostile takeover by The Limited, a fast-growing group of women's specialty stores. Carter Hawley Hale asked General Cinema, a group of movie theaters, to come to its aid by buying some of its preferred stock, and offered General Cinema one of its "crown jewels": the profitable Waldenbooks chain. Another part of the firm's strategy, buying back its own shares of common stock, raised...
Schickel, a TIME cinema critic, views his subject as father to all the auteurs to follow, and with good reason. Griffith had both a view and a vision. In Birth of a Nation (1915) he restaged his father's Civil War, complete with dramatic scenes of the Ku Klux Klan that brought charges of racism along with blockbuster success. In Intolerance (1916) he took on, among other things, Belshazzar's feast, with elephants, dancing girls and collapsing Babylonian towers...
...Griffith's early years had the elements of spectacle, his decline seems to have been made for cinema noir. Ignored, unrecognized, the old director hung around in bars, moving in a limbo of almost-deals and the very young women he could never stay away from. Only when he died of a cerebral hemorrhage in 1948 at the age of 73, did recognition arrive. Obituaries were laudatory; Samuel Goldwyn and Louis B. Mayer served as honor ary pallbearers to the man they had ignored in his final years...
Working within the narrow format of the suspense picture, he could experiment with technical effects and psychological extremes. Knowing that his audience was with him, he could take them to disturbing new places. Arguing that "it's only a movie," he could fulfill his ambition to create "pure cinema": the manipulation of universal emotions by camera placement, shot duration, the dramatic use of color, sound and editing. As two future film makers, Eric Rohmer and Claude Chabrol, wrote of the director in 1957, "In Hitchcock's work, form does not embellish content, it creates it." Hitchcock, less interested...
...difference, though. The domestic surrealism of John Irving's novel, a sort of tragicomic You Can't Take It with You, surrenders to the discipline of cinema narrative only after a struggle. His characters operate on obsession and whim ("I'm a grizzly bear!" "I've got to have sex with my sister!" "Hey, kids, let's all move to Vienna!") as the labyrinthine logic of Fate gives way to an author's caprice. On this Wild Mouse ride of moods and motives, Life goes on, Death comes in, windows open, options close...