I don't know how the word snork escaped my sensor for interesting neologisms. It is already quite old. A snork, apparently, is what you do when you suppress a laugh while drinking and force the liquid out through your nose. Etymology presumed as variation of 'snort' with a hint of surface diving.
Anyone else heard it used before in this sense?
And here's another curio: Diastema. It means a gap between two teeth. I came across it while reading about Terry-Thomas, an English actor who specialized in 'cad' roles. He appeared in the 1959 Boulting comedy 'I'm all right Jack', with Peter Sellers and Ian Carmichael (recently deceased). Quite a formative film for me - I was around 16 when I saw it. I can still vividly recall scenes from it, and am unable to see someone carry a tray of confections without recalling a certain sneeze in a sweet factory from the movie. You can't be me, I'm taken
i was thinking about spike milligan, tom lehrer, peter sellers, and lenny bruce when i meant 'subversive'. he was family safe viewing, and yes he would have made a great bankster.
he was one of the hammiest we had, and brought on the vaudeville tradition.
seeing old ealing comedies is a treat, when i do. they were cameos of an era, and i loved them then too.
i even like the retro colours of the film they used back then... there was a sunny, golden aura to them.
sven probably knows the details of why, lol. ~"When an inner situation is not made conscious, it appears outside as fate." Karl Jung~
In the Fifties there was a variety of filmstocks available, from the 3 strip technicolor process to the all-in-one Eastman in the US and Europe, and then Agfa stocks and even French. All of them depended on the skill of the 'negative timer' who decided on the colour exposures for any sequence - after the final negative was cut and assembled. The timer's job was to 'improve' and balance colour from scene to scene (which may have been shot under different light/colour conditions) to maintain a flow of dramatic colour through the movie.
In that period too, the filmstocks were quite slow and needed reasonable sunlight or then plenty of studio lights to expose. I think what you are remembering is this sunny brightness.
BTW American stocks tended to be a bit warmer, while Agfa, for instance, overemphasised blues and greens. If you're shooting a cowboy movie in the desert there also tends to be a lot of dust which gives it a golden/brown filter effect and more depth cues. And the the yanks were fond of shooting at the 'magic hour' when the sun is low.
There was an experiment with the 'Young Winston' (1972) cinematography (by Gerry Turpin) in which coloured lights were switched on inside the matte box (that covers the end of the lens). These lights didn't impinge on the exposed frame directly, but added a slight colour cast by reflecting off glass within the box. The effect was visible through the reflex viewing system. It was an attempt to put the right colours on the original negative rather than leave it to the timers later. You can't be me, I'm taken
that's the funny part, how sunny my memories are of britain back then (through the eye of the cinema).
the reality i remember as one long st. swithin's day.
'we're all going on a summer holiday
...we've seen it in the movies, now let's see if it's true...'
genevieve...
hahahahaha! ~"When an inner situation is not made conscious, it appears outside as fate." Karl Jung~
