Word: screening
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Dates: during 1970-1970
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Modern Techniques. Kitman is the kind of rabid comic who would buy a 1911 Chinese railway bond and then try to call up Chairman Mao to find out how the investment has been doing lately. He decided to look behind the sober smoke screen of Washington's meticulously kept accounts. In a fiendish demonstration of the power of scholarship, he proves, almost convincingly, that the father of his country was also the founder of modern expense-account living...
...elaborated by Brautigan and Barthelme. West's use of artifacts from mass culture and delicate caricatures during a time concerned with the purity of literature evidences his versatile and original talent. However, he made very little money from his novels and was forced to work in California as a screen writer, cranking out weekly scripts and treatments of novels for film. In December, 1940, the day after F. Scott Fitzgerald died, West, only 38, was killed in a traffic accident. Jay Martin's biography will do a great deal to reconstruct the importance of his loss...
...field while an unseen announcer reminds viewers that many troops dying in Viet Nam were only twelve years old when the U.S. first became deeply involved in the war. If a more determined drive for peace is not made now, he warns, the children seen on the screen could some day be fighting a real war. Another commercial has an Idaho woman recounting the hardships brought on her family by war-stoked inflation. A series of print ads is also being mailed free to antiwar groups, which pay for their publication in local newspapers. A flag-draped coffin is depicted...
...neat middle-aged executive peers out from the television screen. "Hello," he says, his face crinkling into a sheepish grin. "I'm from General Telephone." Boos and hisses explode off-camera. "Now, I'm aware that General Telephone provides less than adequate service." Plop. A rotten tomato slides down his chin. "But we're spending $200 million in California this year on improving our service." He is hit with an egg. "Cables, switches, personnel, everything." A cream pie splatters over his face. "Thank you for your patience," he mumbles through...
...reaches out to pull the hair of her rival or burn the manuscript of the man she loves, her body lurches and twists in a jumble of conflicting drives to do the thing, not do it, and dissemble by doing something else. Her pale, strained face is a screen on which the shadow of one inner demon masters another, only to be mastered by a third. In keeping with the cinematically fluid rhythms of the production, Miss Smith cuts and dissolves from mood to mood like some dazzling montage sequence in a Bergman film. The wonder of it is that...