Word: graphically
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Dates: during 1970-1979
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People of the squeamish persuasion are a beleaguered lot these days. Their views are anything but chic, and their sensibilities are battered about like straw men each time a new entertainment hurls ever more graphic violence ("Not for the squeamish!") at the public eye and viscera. Perhaps squeamishness lacks defenders because sneering at it is both fashionable and surefire box office...
...protest against the U.S. involvement in Indochina, the flag was being burned, burlesqued and spat upon. Today many of the selfsame Americans who chose then to disown their flag are hoisting it high. In a republic, the flag-not a royal family or the trophies of empire-represents in graphic form the experiences and beliefs of its people. As Woodrow Wilson said on America's entry into World War I, "This flag, which we honor and under which we serve, is the emblem of our unity, our power, our thought and purpose as a nation. It has no other...
...automatically to the whims of its director. There are lengthy discussions about Hoover's fanatical desire to destroy the New Left, and his seeming inability to recognize the civil rights of virtually anyone in any group to the left of the John Birch Society. Ungar is at his most graphic when he details Hoover's determination to stamp out left-wing opposition over his half-century tenure...
Prints are unappreciated creations. But this vast and varied collection, the Print-makers' annual effort at reaching the public, is a winner. The exhibit is an eye-opener; the unrealized possibilities of the graphic medium are wrung through an infinite series of changes in technique and theory. Maybe the nicest thing about this exhibit is the printmakers themselves, who will answer even the most uninformed questions about their art with enthusiasm...
...sort of cinematic illustration of the old Rolling Stones lyric about "just as every cop is a criminal and all the sinners saints..." But if Scorsese teases us through the body of the movie with latent violence, he more than compensates for it in the final shootout--a rapid, graphic sequence of knives, bullets and blood, followed by a perversely loving, achingly detailed pan over the scene of the massacre. In this and in the epilogue, Scorsese achieves a near-perfect identification between his hero and his audience; like Travis, we have been aching for this release, and now that...