Sentences with phrase «such narrative points»

Such narrative points could have been expanded upon, and perhaps made the film that little bit more interesting.

Not exact matches

The obvious problem of dealing with such contrasts in the linear form of narrative can be alleviated by pointing out explicitly what sorts or contrasts are being integrated, so that even if readers lose sight of the particular information involved, they can still appreciate the aesthetic transformation of elements.

Hundreds of years of Christian preaching have taken place in such a context; and while it is properly asserted that the erosion from the mind even of the church of the rich referents traditionally clustered about the Easter narratives makes dependence upon them questionable, it must nevertheless be pointed out that a process can be reversed.

Once again our attention is called to the women who were with him and later led the early Church; more to the point, however, ordination as such does not exist in the Gospel narratives.

And Sheehan also claims that «it is clear that the narrative does indeed point beyond itself» — not, however, to an alleged happening in the past, since «the story's purpose is precisely to show that such past «events» do not bring about faith» (p. 144).

Indeed, a sex - free, PG - 13 version of «Freed» could be cut without shedding a second of narrative coherence, such as it is; one could ask what the point of that would be, though similar queries might be leveled at the film as it stands.

Muller is particularly illuminating when discussing Otto Preminger's formal inventiveness — his long, subtle takes, his ability to create compositions that essentially edit the film within the camera — and the various noir «types» that inhabit the narrative, such as the «bad cop» or the sickly neighbor who, in Muller's words, is often «waiting around to be a plot point in a crime story.»

Caro's film fails the most when the narrative injects plot points that feel wedged into the story, such as Jan's fight in the resistance and Antonina's second pregnancy.

Most impressive, they find a cinematic equivalent to McCarthy's language: his narrative ellipses, play with point of view, and structural concerns such as the exploration of the similarities and differences between Moss, Chigurh and Bell.

But Scott and screenwriter David Scarpa (who based his script on John Pearson's book) push their sans - culottes narrative to such an absurd degree that the actual villains here — the mafia kidnappers — not only largely escape Scott's ire, but one of them (the French actor Romain Duris) is portrayed as a nice guy who at one point even saves Paul from further harm.

Click To TweetIn my own practice, substantive editing is like a line edit that dips into the elements of narrative technique I typically include in a developmental edit, such as point of view and narrative distance, dialogue tags and beats, the balance of showing vs. telling, and filtering.

And it's that emotional narrative that's such a powerful entry point to understanding a period of modern Russian history that continues to have staggering repercussions.

Here are some tips on writing narrative essays: narrative essay is written about personal emotions and memories in the form of a story; narrative essay is a story from the author's point of view, therefore all elements of telling (such as setting, plot, character, climax and ending) should be Continue reading

From many such narratives, FADE IN draws out the art objects, granting them the status only previously achieved on - screen, whilst pointing to moments in which one form of media wrangles with the power of another.

Rothschild's work — which is made out of materials such as jesmonite, Perspex, steel, leather, incense and beads — is concerned with how certain qualities of corporeality might be invested with spiritual meaning, and the precise point at which narratives might arise out of formal arrangements.

One such example of engaging art filmmaker is the influential Valie Export, whose films are absolutely never boring — harnessing direct performance, the language of commodity, Hollywood, poignant dialogue, and narrative to make their point.

The works in the exhibition challenge the familiar, divisive narratives of a «we,» such as the nation and the so - called «refugee crisis,» and allude to emotions as entry points for manipulation.

Also taking a critique of popular culture as her point of departure, Glasgow - based Rachel Maclean's hyper - saturated videos unfold narratives through characters — often played by the artist — that quote classic films such as The Wizard of Oz but also draw from horror movies, talent shows and TV advertising.

Drawing on the use of elliptical conversations in the 1961 film Last Year at Marienbad by Alain Resnais as a point of departure, the exhibition features works of art that utilize various cinematic conventions, such as editing, character development, narrative, mise - en - scène and montage, to reveal how our understanding of reality is often mediated by those very cinematic techniques.

And so, Raad's astringent performance and sizable exhibition of works associated with the long - term project Scratching on Things I Could Disavow (2007 — ongoing) delve into the after - effects of violence in the Middle East that are not only political but also economic, such as the creation of a retirement fund for artists that blithely hops across the major fault line of the Arab — Israeli conflict, or the construction of new museum projects in the Gulf, or the movement of Raad's own work in relation to art - historical narratives in different places and times that exert various pressures on him, which at one point appear to drive the artist - as - performer insane.

Exposure to these works — with which many Chinese artists might be familiar only in reproduction or online — is seen by Tinari as a means of fostering creative dialogue between the two artistic traditions and diminishing the «time - lag» that hindered domestic art for so long after the Reform and Opening Up period that followed Mao's death in 1976, traditionally taken as the «starting point» of contemporary Chinese art (Tinari concedes that this is a useful marker, but suggests that a new generation of art historians should «complicate» such simplified narratives).

By replacing European aristocrats with black subjects, Wiley points out the absence of African Americans from such historical narratives.

Rothschild's work - which is made out of materials such as jesmonite, Perspex, steel, leather and beads - is concerned with how certain qualities of corporeality might be invested with spiritual meaning, and the precise point at which narratives might arise out of formal arrangements.

Past Times reimagines art history, taking as his point of departure Western masterworks of narrative painting such as Giorgione's The Tempest, Édouard Manet's Le Déjeuner sur l'herbe and Georges Seurat's A Sunday on La Grande Jatte.

My elemental objective is to show how extensive time exclusively devoted to seeing where the accusation came from and whether it has any evidence to back it up reveals a disturbing pattern: Inconsistent narratives that don't line up right; no hard evidence is ever presented proving such skeptics are in an orchestrated arrangement where they are paid industry money in exchange for fabricating false science assessments; and an overall set of talking points which is ultimately traceable to the clique of people surrounding Ross Gelbspan.

Associated with such narrative starting points, identifying qualitative trends for various SSP elements can help sketch out the major dimensions of development pathways for a given SSP and their differences across SSPs.

I was pointing out that this is increasingly the challenge to the climate consensus that is voiced in public, per Carlson in the video, and that this approach will increasingly help expose the gap between the narrative of certain calamity (whatever its touted threshold du jour, which has changed over the years and may continue to do so) and the reality of what is knowable even in the way that the IPCC defines this knowability (let alone what is knowable when taking approaches to uncertainty such as that of our host here).

Such ostensible self - deprecation is meant to lament the rugged, barren and often woefully untraversable terrain of the Greek countryside, but the narrative also slyly points to Greek pride in hardscrabble existence — on some level Greeks wouldn't have it any other way finding core pleasures in life's simple offerings such as the enjoyment of food, family, earth and Such ostensible self - deprecation is meant to lament the rugged, barren and often woefully untraversable terrain of the Greek countryside, but the narrative also slyly points to Greek pride in hardscrabble existence — on some level Greeks wouldn't have it any other way finding core pleasures in life's simple offerings such as the enjoyment of food, family, earth and such as the enjoyment of food, family, earth and sea.

But more than that, they gave us the starting point for a discussion we intend to keep having on how and why the law is such a comfortable starting place for our narratives about human life.

The minuter circumstances of each case, and the points of fact, as well as law, on which all the cases turned, in this Court and in the Court below, are set forth with such precision in the opinions of both Mr. Justice Grier and Mr. Justice Nelson that more than the brief narrative above given does not seem to be necessary.