Word: saliently
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...even not-so-small) grievances can be aired in the most blatant and overwrought manner imaginable, primarily through puppet caricature, for laughs. Thus grievances are identified, magnified and laughed at before they are able to create real and significant resentment, and the department is alerted to the most salient shortcomings that grad students perceive both in their education and in the atmosphere of the department. And all of this packaged in the form of comedic entertainment...
...left is a row of farmhouse walls scarred by shrapnel and bullets. To our right, in the fading light, an empty expanse of ground stretches to Taliban positions 600 m distant. Both sides of the road are heavily mined. The road itself is totally exposed. "We're in a salient out here," says Allah Mahmad, who defends the ruins ahead. "We've got Talibs and Arabs to the left flank, the right flank and out front. For the past two years they've hit us with everything they've got. We've lost a lot of people...
...book was better.” And biographical films seem especially prone to this disparity. A successful biographical film must take advantage of at least one of several saving graces: superb acting, historical interest, surpassing cinematographic treatment or a truly remarkable real-life epic. The following are salient examples of biographical films that have done this; it seems dubious that Riding in Cars will live up to their legacies...
...coalition for peace. The man had long black hair, tied back into a pony-tail, and a poorly trimmed moustache. The woman had her head shaved to ear level topped by a shock of short, bleached-blond hair. They looked like the kind of pinko-liberal bogey-men who Salient editors see in their nightmares. They spoke immediately about the United States’ legacy of propping up murderous Middle Eastern dictators and violating human rights around the world. When asked what peaceful alternative to war they would suggest, one offered that America should immediately decrease the cost of AIDS...
...Levit's untitled depictions of 1940s urban New York has a small child-probably a baby boomer-at the epicenter; her mother is tucked into the periphery and a car speeds towards the child, who runs to her mother. The salient objects of the photograph are machines, cars, buildings, concrete, asphalt, and, in increasing numbers, people. The space presents itself ominously and uninvitingly. The child seems afraid, uncomfortable, not at home. In such a way, Levit appears to be depicting a sort of psychological dysphoria in terms of the physical space her subjects occupy...