1930s

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Synonyms for 1930s

the decade from 1930 to 1939

References in periodicals archive ?
There is no temptation to align oneself with the victors; grandeur and tragedy belong to the vanquished, who fight, not for an ideology, but rather, like Yeats's Irish airman, for "a lonely impulse of delight"; no celebration of Nazism or imperialism but rather admiration for invention and drive in the service of madness, a madness not very different from that of the American pilots in the '30s who raced in circles in some remote part of the Midwest or who lost their lives to establish a speed record that someone else would break a few years later.
There are no more AFM bosses like Petrillo, who in the '30s had enough clout to make all the radio stations in Chicago hire union musicians to flip records.
Planners demanded that Horne should balance the mass of the old bed factory with a similar one built up from the '30s building.
This is the edgy face of the new screwball comedy, which harkens back to the '30s films in its reverence for literacy but pitches its wit under a dark cloud.
The first two of these explore the '30s poetry of Hughes and Brown, respectively, here highlighted for their lofty place in present-day canons and for their divergent strategies of documenting and speaking the popular.
And so what becomes clear in Bryce's work is not only the influence of comics from the '20s and '30s, but also a sharply contoured realism that itself belongs to the tradition of political art.
The other new ordering structure is north of the post office, and it reflects the '30s building's width in an almost square plan.
First came Kino's Avant-Garde: Experimental Cinema of the 1920s and '30s, a two-disc set of twenty-four films from the collection of Raymond Rohauer, the Los Angeles-based programmer whose screenings in the '50s at the Coronet Theatre were important to an emerging generation of experimental filmmakers, including Stan Brakhage.
If external resemblances between the two libraries are obvious, there are strong internal similarities between the Malmo entrance hall and that of Asplund's '30s masterpiece, the Gothenburg Law Courts.
Contemporary advocates of censorship can draw on the work of predecessors such as Karl Loewenstein, a political scientist who argued in the late '30s that cutting corners on civil liberties is sometimes necessary to preserve democracy, or David Riesman, the legal scholar and sociologist who developed the idea of "group libel" in the '40s.
From the late '30s on, Dali's name got attached to just about everything and everyone outside the museum's boundaries: Time magazine and the Dali News (a self-promoting newspaper, its title a joke on the Daily News); Shirley Temple, Mae West, and Laurence Olivier (each the subject of a "portrait" of sorts); Hitchcock, Disney, and Schiaparelli (with whom he collaborated); TV commercials for Alka-Seltzer; etc.--all vivid proof of Dali's status as a charlatan/businessman/pop star.
Dogville's visual emphasis on the fact of its having been shot on a soundstage brings to mind film and film criticism of the '30s, when the "talkie," with its unwieldy new technology, made location work difficult and fears of regression to an "unfilmic," theatrical approach abounded among the more "advanced" critics.
And the photo-narcissist chronicle--a favored form since Nan Goldin's Ballad of Sexual Dependency--goes back at least to Claude Cahun's transgender self-portraits of the '30s, in Aveux non avenus (Avowals not admitted).
The recent Harvard survey, which focuses on Shahn's New York output of the '30s, when Shahn hobnobbed with Evans and learned photography from him, remedies that situation by emphasizing his work with the camera and by reuniting the photographs and the paintings.
This new volume of New Yorker columns from the '30s is a useful thing to have.