Word: metaphorizes
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Unfortunately, Mr. Hobson has chosen to rest his case on a metaphor suggested by Professor Charles Osgood of the University of Illinois. Osgood describes the actions of two men standing on either side of a see-saw. When one takes a step backward, the other is obliged to do likewise to preserve the equilibrium of the system. As the two men continue to move backward to the ends of the see-saw, the board on which they are standing strains to the cracking point, and the balance becomes more precarious...
Playwright Wesker's dialectic is flimsy and his metaphor is strained, but his theater is terrific. Transferring such theater to the screen is about as tetchy an operation as carrying nitroglycerin in a sieve, but Director James Hill, in his first full-length film, has done the job with a sure hand. He shuts the spectator up in that hellhole of a kitchen until he feels like a cabbagehead after 74 minutes in a pressure cooker. If Leftist Wesker expects moviegoers, at the end of the film, to rise and shake off their chains, he is going...
...when the 155-mm. guns of his artillery unit redden the night "with their long barrels sliding, howling, slashing the black air with smears of flame," the war he lives through becomes altogether real. And what saves Mitchell Goodman's war from being just a long grisly metaphor is that, despite its absence of individual identification, he successfully turns it into drama...
Long-term Recall. The polysyllables of David Susskind, for example, pooled on the courtroom floor, spread to the walls and up to the ceiling, and held the committee spielbound for 210 minutes. In one triple metaphor, he summarized television drama as "celluloid sausage coming down the pike by the ream." Without referring to his own indifferent and unoriginal shows, Susskind estimated that TV as a whole had become "90% travesty, a gigantic comic strip, a huge ho-hum. I tremble for TV as a professional practitioner-as a father-as a citizen...
...more and bigger posters; but like other countries in the Communist bloc, it favored the ponderous style of social realism. The graphic artists, led by the late Tadeusz Trepkowski, insisted on the right to something they called "emotional symbolism"- a highly charged, individual style in which mood and metaphor, as well as words, would carry the message. The artists won, and the poster became the first art form to be liberated from the long night of Stalinism...