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By Deborah Small

World-class paintings and poetry at the colonization of the Americas.

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47 From then on, the networks kept their documentarians on a relatively short leash when covering political and historical subjects, and even the style of the filmmaking, especially the reliance upon the omniscient narration that so annoyed de Antonio, seemed to reflect this authoritarian atmosphere. 48 Documentary had lost its bite. S. history. ”50 De Antonio’s culling of this material—the compilation technique of Point of Order—has deep significance in the early years of an era marked by “the disappearance of history,” as Fredric Jameson has observed about the postmodern condition that afflicts Western capitalist economies.

Let us not assassinate this lad further, Senator. You’ve done enough. Have you no sense of decency, sir, at long last? ” De Antonio’s selection of evidence has primed the audience to accept Welch’s assertion (calculated though it sounds with repeated viewings of the film) that McCarthy was a man without scruples. The film ends with McCarthy isolated, his colleagues leaving the room in apparent disgust for the ranting senator, a scene that 38 Point of Order! actually took place in the middle of the hearings.

What de Antonio saw, however, was “the degradation of a human being totally wiped out. ” As a result of his opinion, and the lawsuit that he half-seriously threatened if the film were shown in public again, the movie has remained out of sight. 22 Life Before Film De Antonio was useful to other major artists as well. After he met Frank Stella at Princeton in 1958, de Antonio lobbied strenuously to find a gallery for the young painter and eventually encouraged the prestigious Leo Castelli Gallery to take on the twenty-fouryear-old artist.

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