Word: controller
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...recent Selective Service bulletin states that "It is still impossible for Selective Service to attempt to calibrate all of the contingencies which might arise, and over which the Selective Service System has no control, that might alter the original Department of Defense estimate with respect to the various levels of vulnerability for the numbers that were drawn in the lottery...
...more serous objection to OBU's demands is the contention that agreeing to the OBU demand would be dishonest since the University does not control the hiring of workers, black or white on construction projects and since there simply aren't enough minority group workers in the area with the requisite skills. The answer to the University's fears about finding enough workers is simple enough: it can call OBU's bluff and wait. If the required number of construction hands don't appear, it won't be the University's fault. On the other hand, if the workers...
...TRUE that Harvard does not control the hiring of construction workers, but this problem alone does not justify the University's reservations about agreeing to the OBU demand. The Administration could agree in-principle to the Black students request, make a public statement of the problems the University faces in fulfilling it, and then appeal for OBU's help in finding strategies for achieving their joint purpose. This approach would go far toward eliminating the breach of trust which in large part explains the rapid breakdown of negotiations after last Friday's occupation...
...RARELY sees completely integrated films, works whose every element contributes to a single expression. Few directors reach the maturity and control necessary to such a work. Sorrows of Satan (1927) finds Griffith once more transcending himself, leaving behind the formal means by which he ordered his earlier dramas for a simpler, more direct style. Sorrows is so unified that its mood and meaning can be assigned to no single aspect of that style...
GRIFFITH'S restraint, simplicity, and economy of means pay off in increased dramatic force for every action. There's less detail, but it's all out front, working directly on us. His control of secondary incidents is complete: one gasps when a man with dark glasses simply appears at Cortez's wedding and stands in front of Dempster. Our terror increases when in close-ups, her face is partly blocked by the edge of his sleeve...