Word: working
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Dates: during 1960-1969
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...theorists who propounded it, another advance in the accurate representation of life, another step towards "objectivity." The line between life and art was supposed to dissolve, and there would in the end be no difference between the way things were "out there" and their representation in the work of art. ". . . you get the impression," Pauline Kael has written, "that such cinema theorists think that Griffith shot The Birth of the Nation while the battles were raging, that Eisenstein was making newsreels, and that Rossellini and Bunuel were simply camera witnesses to scenes of extraordinary brutality...
...role. It has no hero except the proletariat itself. It has only one outcome, the triumph of workers. To a Marxist of course this is the scenario of history, so it is obviously valid and objective. Social Realism is in many ways more like a theorem than a complex work of art. It uses the postulates of a particular system of belief in order to deduce a proof that the original beliefs were valid...
...made one of the few triumphs within the prescribed Marxist form. Potemkin does not deviate one iota from the social realism formula. It is propaganda, and yet it is compelling. It transcends its message and endures not just as a chapter in art history, but as a still fascinating work...
...feels Eisenstein's intelligence at work in every frame of the film. What is most fascinating about Potemkin is ultimately very individualistic. It is the virtuosity of the director. The drama of Potemkin is of an artist making a masterpiece out of his raw materials as we watch. Motion is created before our eyes, from still shots, as in the montage on the steps, or the three shots of stone lions whose juxtaposition makes the Czarist lion seem to stand up and roar. The very astringency of the proletariat form seemed to bare, as in any stylized form, the sinews...
...said Felix Frankfurter, "there's no use saying, 'The 76 man is better.' Maybe so, but how do you know he's better?" For Frankfurter, who entered the school in 1902, Harvard Law was and remained "the most democratic institution I know anything about" largely because everyone's work was measured by the standard f grades. Regardless of background, a man could prove his worth by doing well on first-year exams. Grades left no room for racial, religious, or class bias. All students could compete on an equal footing and be judged impartially. The system, said Frankfurter, "creates...