By Ted Rueter
Ted Rueter panders to Republican get together strains via gathering 370 oratorical guffaws credited to well known politicians. classified in alphabetical order and offered via topic subject, the quips include:
Osama bin weighted down: "[Osama bin encumbered] is both alive and good or alive and never good or now not alive." --Donald Rumsfeld
Misunderestimation: "They misunderestimated me." --George W. Bush
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Additional info for 185 Stupid Things Republicans Have Said
Progress is only possible on that ridge between truth, concen tration and that sharpening which penetrates by burning into our per ception of reality . / Valid for the twenty-minute account of a day in the life of a West German officer - a day particularly rich in incident - these remarks could apply equally well to the treatment, to the transformation into fifty-five minutes of film of fifty no less busy years of German history (Not Reconciled), or of thirty years of intense musical creativity into an hour and a half's flow of images and sounds (The Chronicle of Anna Magdalena Bach).
In La Concentration another process took place. Shut away with his a c t o r s and crew in a tiny studio, Garrel filmed for three whole days without interrup tion. At one point, with tension, fatigue and other imposed conditions all playing their part, he began to fear that the sequence of shots (which w e r e also to form the chronological sequence of the film, since he had for the first time pre-planned his montage) might be overloaded with too great a c h a r g e of intensity. So he changed the order of shooting, first filming the end, t h e n the penultimate section.
Is this montage generating the shooting and its methods? ) 5 One can perhaps get an inkling from Chytilova's film of how the very principle of montage risks becoming a principle of rejection and suppression - and n o t merely of elision, but quite literally of subtraction, erasure, or even impediment and 'persecution' (of the spectator-voyeur: thus Eisenstein refused to let h i m contemplate the trajectory of a gesture, and forced him to create an 'idea' o f the action while refusing him the pleasure and short-circuiting its conditions).