Word: humanistic
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Dates: during 1970-1979
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...cello," Pablo Casals once remarked. He spoke more modestly than he knew. For in the history of music, Casal's cello stands very tall indeed. Most musicians would agree that he was the greatest cellist ever to play that awkward instrument. More than that, he was a humanist who refused to compromise or adjust in an age of compromise and adjustment. "We are before anything men," he said, "and we have to take part in the circumstances of life. Who indeed should be more concerned than the artist with the defense of liberty and free inquiry, which are essential...
Burr's most savage bites come out of Thomas Jefferson, portrayed as a coward who sat out the Revolution in Virginia, an "exuberant mediocrity in the arts," a household tinkerer who is almost killed by one of his hideaway beds, and a grand hypocrite who spouted humanist theory but kept and sexually exploited slaves...
...time, the big brothers were mostly white. Their goals were humanist and liberal, as outlined in a position paper for the 1968 program: "to make kids happy and feel good about themselves. If a person is happy and feels good about himself he can handle any problem, whether it's physical or mental...
...Western ESC nations. The Soviets have revealed that dissent is a live issue at home, contradicted their claim that the dissenters are few and unimportant, reverted to Stalinist methods of marshaling opinion, and openly challenged the West as to how firmly it is prepared to stand by its humanist beliefs. Soviet suppression of dissenting opinion, in short, has become as much of a challenge to the West as the recent Soviet MIRV (multiple targetable re-entry vehicles) tests that violated the spirit of the SALT talks and of Nixon-Brezhnev summitry...
...obvious contrast to Chase's film is Marcel Ophuls' documentary on the Irish Struggle, A Sense of Loss. More can be drawn from this comparison than Ophuls' obvious technical superiority, for Chase has not felt compelled to imitate the centralist humanist politics of his precursor. Using the same subject matter and the same documentary form as A Sense of Loss, No-Go is a dare, defying the definitions of documentary film-making. No-Go makes a bid for personal politics in documentation. This is a bid with some history, including the first Russian recipes for dogmatic cinema and the propaganda...