Word: plot
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Dates: during 1950-1959
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...McCarthy was not on the Senate floor when Chavez spoke, but, never at a loss for words, he soon answered: "Poor Dennis Chavez" was a "dupe" in an Administration plot. An angrier retort came from the Very Rev. Laurence J. McGinley, S.J., president of Fordham University, where Budenz teaches economics. Senator Chavez, said Father McGinley, had been guilty of slander, hypocrisy, cowardliness and "personal vilification . . . even lower than that reached in the columns of the Daily Worker." Budenz had Fordham's "full confidence . . . The Senator had the effrontery, moreover, to pose as a Catholic while publicly enacting this vicious...
...Movies, a Psychological Study (Free Press; $4), Drs. Martha Wolfenstein and Nathan Leites set down the distinctive plot patterns of U.S., British and French films. Readers may draw their own conclusions as to moral and emotional attitudes in each of the countries...
...British. "The essential plot in British films is that of the conflict of forbidden impulses with conscience . . . British films evoke the feeling that danger lies in ourselves, especially in our impulses of destructiveness. In a cautionary way, they show what happens if these impulses break through, particularly where the weak become the victims. Thus they afford a catharsis at the same time that they demonstrate the value of defenses by showing the consequences bf their giving...
...French. "In the major plot configuration of French films, human wishes are opposed by the nature of life itself. The main issue is not one of inner or outer conflicts in which we may win or lose, be virtuous or get penalized. It is a contest in which we all lose in the end, and the problem is to learn to accept it. There are inevitable love disappointments, the world is not arranged to collaborate with our wishes, people grow older, lovers become fathers, the old must give way to the young, and eventually everyone dies ... It is in keeping...
Together they wrote dozens of Broadway hits, always trying to make musical comedy as well-constructed and meaningful as good drama. In their shows every song was a "plot" number--such as "The Lady is a Tramp," from "Babes in Arms." In addition, Rodgers and Hart deserve a great deal of the credit for the introduction of ballet into musical comedy. George Balanchine, former ballet director for the Metropolitan Opera, staged most of their dances. His first choreography for them was the memorable ballet "Slaughter on Tenth Avenue," from "On Your Toes," in which Ray Bolger danced the leading role...