Sentences with phrase «building better narratives»

In an effort to address concerns on accountability, the UNCF, National Urban League and Education Post recently released a report Building Better Narratives in Black Education focusing on better engaging communities around K - 12 education and driving substantive policy changes.

Charter Schools, BAEO, Black Alliance for Educational Options, Black Voices, Brown vs. Board of Education, Building Better Narratives in Black Education, ChartersWork, Cheryl Henderson Brown, Diane Ravitch, Ikhlas Saleem, Julian Vasquez Heilig, NAACP, NAPCS, National Alliance for Public Charter Schools, National Urban League, School Choice, Sekou Biddle, Steve Perry, UNCF

Not exact matches

You could pick any single data point that aligns with your current positioning and build your narrative around it to make yourself feel better about your investment stance.

St. Andrew shares an all - too - common narrative about church growth and decline, and about how good Christians can build bad congregations.

She also recommends a very late beginning for original writing, building towards it with narrative, reading quality books, and dictation, all of which she seems to think will naturally promote good writing.

The strategy was to coordinate messaging among liberal groups and reduce complex policy questions to «talking points and narratives that play well in the media and build public support for the White House's policy goals.»

Building relationships on common ground rather than in the rough seas of controversy may be the best way to get beyond popular conflict narratives of science and religion dialogue, said speakers at DoSER's 2014 AAAS Annual Meeting Symposium, «Religious Communities, Science, Scientists, and Perceptions: A Comprehensive Survey.»

The film still suffers from a muddy narrative and dour outlook, but this extended version corrects a number of problems with plotting and expands the DC Comics universe with better character development and world building.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

So good is Cable that you wish the film would've allowed more room for growth with his inclusion into the story and while he plays a key role in proceedings, you still can't escape the feeling that the film would've grown as a whole had Brolin been allowed more spotlight, ditto for Dennisen and Reynolds budding mateship, that despite forming the core of the narrative thrust is never properly built up, making Wilson's mission as a whole less engaging than it could've been.

An honest account of Kenney (Will Forte) building the National Lampoon brand and splitting from Beard (Domhnall Gleeson) must necessarily follow the well - worn «rapid rise, drug - fueled fall» template of the troubled - genius narrative, so Wain and his well - stocked cast do what they can to puncture the genre and let out some of its hot air.

Its central theme (the danger inherent in our fears) isn't explored all that well, and the central character, Newt (Eddie Redmayne) isn't interesting enough to build a narrative around.

I'm still not thrilled with the ret - con job on the classic story but this chapter is the best of the three, more focused on a central narrative spine to build the spectacle upon and featuring a solid foundation of character and conflict.

«The one thing we've always really admired about Kevin Feige and Marvel is they have a very, even though they're building an interconnected narrative through many, many films over many years, they have a very disciplined one movie at a time attitude, as well, which I think is very very helpful to the creative process of fashioning the individual film,» he continued.

A spinoff, Monster Hunter Stories, stepped off the beaten track by introducing a simple yet satisfying narrative, and now Monster Hunter World solidifies that step by using the building blocks of previous narrative concepts to deliver a well - paced experience that spends more time focusing on the bigger picture.

Additionally, Wright uses flash - back and - forward as well as fantasy sequences to build a not entirely linear narrative that enhances the emotion the audience feels for the characters and their plight.

As the Oscar race slowly begins to take shape, there's much talk of prime contenders building a topical «narrative» to fuel their campaigns: Three Billboards is being pitched as a spiky response to the culture of toxic masculinity exemplified by Harvey Weinstein; on a related note, Lady Bird and Greta Gerwig carry heightened hopes for another female best director winner; Get Out continues to mark the temperature of America's rampant racial tensions; Call Me By Your Name takes the baton of LGBT empowerment and visibility from reigning Oscar champ Moonlight.

Deadpool 2 surpasses the first Deadpool, building off of the 2016 movie's success as well as the meta - narrative surrounding each and every superhero movie and using those references to build something unique, a fun superhero spoof that has its heart in the right place.

Stories are the evidence that allow us to make judgments about what serves us well, and it is the stories about schools that allow communities to build a narrative about the effectiveness of education.

There is little sadder as a rescuer than to see a huge divide between good people who just want a pet, and responsible rescue groups who just want good homes for their pets, and realise that what is keeping them apart are dark narratives built on suspicion and anger.

What it lacks in memorable narrative, interesting characters and in - depth world - building it more than makes up for with some of the best open - approach combat since Halo: Combat Evolved.

I left my preview build feeling very positive on the experience; the twisting rogue - like narrative played in well with the tactical combat to provide some interesting angles the story could take.

However, I should say that while many of the directions the primary narrative went were not to my taste it does feel like the type of storyline that's going to split opinions about whether it worked well or not, and there were some astounding moments that came of it, such as haunting walks through ghost filled buildings and tunnels.

And that's really it for the narrative; Max wanders the wasteland doing favors for the various big bosses scattered around the place so that he has somewhere to hide out and build up his new car, but there's no overarching plot except for the fact that Max has somewhere he wants to go, and to get there he needs a good ride.

Brilliantly building a hub world of sorts into an oddly entertaining narrative — which was a rarity for a game about karting — it even boasted boss races and vehicle choice, taking you into the skies as well as the water.

When building a game, it is so important that its narrative meshes well with the gameplay.

The main narrative of the story does a good job of keeping you engaged through its seven hour campaign, steadily building in pace as it leads up to the climatic conclusion.

Aside from the Zenobia you'll also occasionally explore a fairly uninspired snowy mountainside and office - building interior that serve a much better purpose propelling the narrative forward than providing compelling surroundings.

There definitely is a feeling that the narrative that forum boards tried to build, that the XB1 is «weak» and therefore no good games can be made for it is broken.

Instead of laying Los Santos out for our enjoyment, giving us the keys to the city and challenging us to go out and see what havoc we can cause unfettered by limitations, the game leads players by the nose through a whole bunch of story missions, forcing you into the narrative to unlock the best bits of the game — with the empire building and parachutes coming to mind in particular.

We're making use of techniques like performance capturing - so we get really good physical performances from actors along with their facial expressions and voices and their interaction with other actors - to build a game that has a really strong narrative component that isn't just a highly replayable shooter.

I'm probably not going to do a good job of explaining this, but the boss fights of Skies of Arcadia really make that one of the best games I've ever played, and it everything to do with keeping a stellar cast of bad guy characters that weren't gone / killed after one fight, but were consistently around a good chunk of the narrative, so not only could they build character off of each successive meeting, but it helped you strategize your giant airship battles against them as you started to learn their fighting style (and of course the game would then use that to try and one - up you).

Known in Japan as Eiyuu Densetsu: Sen no Kiseki, The Legend of Heroes: Trails of Cold Steel builds on the beloved Trails franchise by improving on the series» formula while delivering the same sort of well - crafted narrative that series fans have come to expect.

Much like Gone Home, Firewatch, or Everybody's Gone to the Rapture, the main allure in these games is the world building and an engaging narrative, and What Remains of Edith Finch does these two things exceptionally well.

BOOKSHELF Photographer LaToya Ruby Frazier has built her practice around images of her mother, grandmother and great - grandfather «gramps,» as well as self portraits using their generational story in Braddock, Pa., to convey a larger narrative about social and economic conditions in post-industrial communities around the country.

By using nothing but paint to build a believable space on a two - dimensional plane, thereby openly critiquing work widely regarded as upholding a narrative of progress that was implicitly patriarchal in its telling, she also challenged the received viewpoints and well worn tropes that dominate (and continue to dominate) art history.»

By weaving together historical fact, autobiographical data or excerpts from science - fiction films and didactic books, they build narratives and stories which amalgamate relevant coincidences from the past, as well as foretell the future.

Though the materials from which these works were made carry their own significance and built - in narratives, Smith called the quilts «some of the best abstract art you will see this season.»

Build green enabling institutions — Green Investment Units and Banks are needed; Give tax incentives for climate bonds — very little treasury loss can be a big boost to investment; Build an economic recovery narrative — the transition to a green economy revamps our economy across every sector and addresses the climate change threat; Use Climate Bond Standards as a screening and preferencing tool — a tool that helps investors monitor and verify the climate effectiveness of their investments; Make it easy for politicians — bond investors and business issuers have to get better at packaging politically sellable solutions, help politicians see how they can successfully sell those plans to voters - See more at: http://www.climatebonds.net/#sthash.djXU6k6I.dpuf

-- Rick Fedrizzi, founder and CEO of the U.S. Green Building Council, discussing what he considers the antequated narrative that green building can't be good for bBuilding Council, discussing what he considers the antequated narrative that green building can't be good for bbuilding can't be good for business.

And it was suggested to me that if I focused on the GM Building, because it's the most expensive real estate asset in America, it would be a good narrative tool to bring together all of these tycoons.