Word: familiarization
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Dates: during 1950-1959
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...sheetless bed," Koestler writes The Invisible Writing--"enveloped by gloom and stench, counting the familiar stains on the wall which crushed bed-bugs leave behind, I heard the sound of a gramophone in the next room." It was Hughes, playing Sophie Tucker on his phonograph, not bothering to notice the dirt. While Koestler was disgusted by the filth and unsanitary living habits, and only briefly amused by a local purge trial, Hughes was enjoying lavish Turk hospitality and occasionally reading the voluminous notes Koestler took each day. What Koestler found most everywhere failed to meet his expectations, and Hughes, having...
...said. Speaking honestly but with restraint, he did not attempt to appear profound and relevant (as many do) by repeating what have come to be cliches about man's "existential predicament" as seen by both theologians and artists. Probably he assumed that most of the audience would already be familiar with such analyses, an area which has been adequately covered by other spokesmen...
...were no obtrusive reminders of UNICEF's constant need for funds. The film's chief purpose, says Kaye, "is to bring to the attention of the people of the world what UNICEF is doing."* There were no shooting schedules, no rehearsals, no retakes and none of the familiar TV tinsel and dross-but a lot of unfamiliar spontaneity and holiday glow...
...Compass Island's instruments have been laboratory-tested, they have never before been tested at sea or linked together to form a whole system. With observing scientists from M.I.T. and Sperry Gyroscope aboard, Compass Island will put to sea in January to test SINS' accuracy in familiar Atlantic coastal waters. After that it will put back into port periodically to take on new equipment for testing. If the system functions as well as the Navy hopes, it may well be installed aboard submarines and other missile-launching vessels by the summer...
...Emperor Jones is familiar enough to the audience so that the present abridged version conveys nearly all of O'Neill's original. Instead of first seeing Jones as the corrupt misruler of a jungle island we first meet him as he is fleeing from the wrath of his subjects, plunging into the jungle. The emperor bursts on stage, confident and arrogant, but already tired of running. The fear and disintegration seen in Jones on his frantic flight is echoed remorselessly by the ceaseless native drums, coming louder and closer and faster until, finally, Jones is shot. At this ponit...