Word: screening
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Dates: during 1980-1989
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...candidate everyone admires and no one takes seriously" a recent "60 Minutes" profile about Rep. John Anderson (R-Ill.) began. Chin resting on his hand, intent on the 19-inch black-and-white screen, Anderson winced a little when he heard that introduction...
...level and play illuminating word association games. This is lazy writing, made even more irritating by its artsiness. If Fosse and Aurthur knew how to integrate psychological observations into the lines themselves (which is what drama is all about), they wouldn't need to have characters look into the screen and say, "You're this, Joe; you're that, Joe." They would show it. Part of this failure is surely Fosse's lack of faith in his audience's ability to perceive anything that doesn't repeatedly whack it over the head. (Such is the sad fate of many...
...anchor role for almost a decade. But some CBS executives noted that Mudd, though an experienced Washington correspondent, has never worked overseas, is not the compliant sort of company man that CBS appreciates, and is thought by some at the network to appear a bit too stolid on the screen. Still, Mudd was so sure he had the job that he recently refused to fill in one week for Cronkite; he wanted to go skiing instead. "I think he overestimated his hand," says one colleague. Said Mudd, who may well leave the network: "The management of CBS and CBS News...
Television crews get better footage than ever because new lightweight videotape cameras, called minicams, give them greater mobility. Another important advance is the Chiron, a device that projects symbols, graphs and subtitles on the screen. The key words of a major speech can now easily be shown, and complicated economic stories can be untangled with Chiron-generated charts and tables. But doubts linger about how TV journalists will use their new technical skills. Bill Moyers places the challenge on Arledge's lap: "The test is whether Roone's talent for technology will be spent making the important interesting...
Cruising horrifies from the start. Explicit killing supersedes explicit homosexuality on the screen. The killer cruises a victim--picks him up--in a hellish bar and they move on to a sleazy hotel. There, the victim admires his sleek, naked body in a mirror, flexing his muscles while the killer, visible in the mirror, lurks in a shadowy corner. The mirror dominates these men, Friedkin implies. They are narcissistic; they love themselves and they love physical replicas of themselves, mirror images...