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...Complicated. The stark isolation of the place made her feel cut off from things. "When my girl friend and I quarrel and she wants to go away and she is all packed," Bergman told one interviewer matter of factly, "everything is always too complicated. First she has to drive by a very complicated way through the woods. Then the ferry boat leaves only on the hour. From there she has to find a flight. So she ends up staying...

Author: /time Magazine | Title: Just an Ordinary, Extraordinary Woman | 12/4/1972 | See Source »

Third, they should ask the Coop management why employee turnover is so high, and why the recent unionization drive, in stark contrast to those of previous years, has been so successful...

Author: NO WRITER ATTRIBUTED | Title: Questions for the Coop | 11/28/1972 | See Source »

...radical, Moakley is trying to paint himself as a populist in this-campaign. Big block letters in bright Irish Green blare his name out from the outside of his second-story campaign headquarters on Union Street at the edge of Boston's North End. His billboards say in stark black-on-white lettering "Joe Moakley vs. Louise Day Hicks" and then, in bright green. "Give 'Em Hell, Joe." He talks about tax reform, about unemployment, about giving the little guy a break. Inside, the headquarters looks like the typical underdog operation--kids are running everywhere, phones are ringing people...

Author: By Michael S. Feldberg, | Title: South Boston's 9th Tries to Square 2 Traditional Democrats in 1 Race | 11/6/1972 | See Source »

...biggest third-quarter jump in twelve years; St. Regis Paper Co. profits were up 153%, to $10.6 million; and National Steel Corp.'s grew 272%, to $15.2 million. Other big corporations showing earnings advances of more than 20%: International Paper, Eastman Kodak, AT&T and RCA. In stark contrast, General Motors reported a 41% profit drop, largely caused by start-up costs for redesigning 1973 models...

Author: /time Magazine | Title: PROFITS: A Buoyant Third Quarter | 11/6/1972 | See Source »

...Japanese society. He directs transitions from one locale to another by introducing each new scene with a shot not only symbolic but prolonged to the extent that it almost becomes a still. After the opening scene in Shimonseki, the shift to Tokyo is indicated by the stark image of smokestacks against a smutty sky, and the title "an industrial neighborhood in Tokyo." Setting the mood for each episode with similarly fitting images, Ozu unrolls a cinematic parchment of Japanese prints, the black and white photography of the film heightening its formal links to traditional Japanese art. Each interior, every landscape...

Author: By Celie B. Betsky, | Title: The Coming of Age in Tokyo | 11/3/1972 | See Source »

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