Sentences with phrase «as the viewer always»

Not exact matches

While the concept of receiving «God's blessing» as a reward for something well done has always been an element in fundamentalist and evangelical theology, in the practice of the paid - time broadcasters it has been developed to its extreme as a device to motivate viewers to give.

As the Winter Games have become bloated, going from 13 hours of broadcast coverage over 11 days in 1960 to 178 (on CBS and cable's TNT) over 17 days this year, viewers have realized that there is not always something interesting to watch.

As guest host Jack Dee read out the final scores, he told viewers: «Of course the scores have always been hotly contested on this show.

Gove's skills as a debater are unmatched in government, but I'm not convinced viewers always respond positively when they see or hear him being interviewed.)

But as several of our authors warn, it's not always as glamorous as it may appear to the casual viewer!

As always it is free to sign up and helps bring more viewers to your page!

Well this film doesn't let you softies off as there is (as usual) a dog involved which ALWAYS gets the viewers upset.

As a viewer, I was always left wanting to hear more, see more, understand more about the acts, the characters, the drama.

His characters are flawed and interesting and not always charming, and the viewer's sympathies keep changing as Mildred and Dixon, specifically, evolve.

Personifying God always runs the risk of offending sensitive viewers, even in an endeavor as slight as this one, and Bruce Almighty constantly errs on the side of caution.

Of course, most viewers won't ponder such a thing, because the Muppets are, as they have just about always been, so believable as living, breathing frogs, bears, whatevers that you rarely consider the puppetry of it all.

Savvy horror - thriller viewers should stay away from Gothika, as it telegraphs its plot points in such a way that you're always a few steps ahead of the game.

Recommendation: Carol offers viewers two fine performances from Cate Blanchett and Rooney Mara, the former of which has always been reliable and the latter becoming ever more watchable as she continues to shift genres and role types.

As a viewer who cares about the quality of the films first, and the inter-connectedness of it all second, McFeely's «You always make the best movie you can» quote is heartening.

I can't fault The League for welcoming them as guest stars to promote the series and find viewers who otherwise might never watch, but their presence always slows down a show that's used to dialogue at a breakneck speed.

Running a scant ninety - two minutes, at least sixty of them consist of people frantically yelling at one another in the hopes the profanity — largely in front of a toddler, who's always finding and playing with a dildo as the film's running joke — keeps the viewer's interest.

Non-Stop is always entertaining as an action thriller, but requires viewers to reject the seeping incredulity they will no doubt encounter.

As the soundtracks shifts so does the mood of the piece, always finding ways of drawing the viewer in without being overly manipulative.

We believe and empathize with Mary Elizabeth Winstead when she's upset often as she's a good actress that can sell a scene, but we don't always believe the situation or the sequence that got her from emotional point A to B. And this obviously hurts the movie and the viewer's engagement in it, and that's not all.

«I always think of myself as a protector of children and that young viewers have a team watching out for them, not only for what they enjoy, but what's developmentally appropriate.»

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Someone is always relegated as the viewer, and not a fellow player, and to me that feels about as exclusionary an experience as you can get.

A film might have changing edits, but fundamentally, you're always scoring from A to B. Games have so many different variables to think about which can make establishing good pacing really hard, as opposed to film where you have absolute control about what your viewer is going to experience.

At this point I don't think I want my channel to grow much larger as I've always enjoyed talking to my viewers and I think if I got any more, the chat would move to fast for both me and them to enjoy.

The face should always have more definition than the body as it is closer to the viewer's eye, and this can be exaggerated for effect in paintings.

«As a film director, I feel it is my job to always be telling the viewer what to think about an image or moment,» says photographer and director John Jencks.

As likely to use steel and salt as fabric and light, Violette shifts a viewer's perspective by always implying more than what is on vieAs likely to use steel and salt as fabric and light, Violette shifts a viewer's perspective by always implying more than what is on vieas fabric and light, Violette shifts a viewer's perspective by always implying more than what is on view.

Furthermore, a work of art, as Marcel Duchamp reminded us, is always completed by the viewer.

He is always bringing together sculpture and viewer as twin, physical bodies, while then turning one toward the surrounding space.

[vi] This critique was not always well - received, and Arneson noticed that viewers often responded to the humor in his work not just negatively, but as if he had offended them personally.

Shields challenges the viewer to move around his work as one does a sculpture, and color always stimulates my tendency to guess the theoretical underpinnings of the use of a spectrum.

As a viewer, you are always faced with that question, confronted with a present that could be a beginning or an end or even an obsolete future that is now almost nostalgic.

As Crewdson noted in a 2005 interview, «One of the things I love about a photograph as opposed to a film or other narrative form is that the viewer will always bring their own story to the photographs, because my photographs are unresolved.&raquAs Crewdson noted in a 2005 interview, «One of the things I love about a photograph as opposed to a film or other narrative form is that the viewer will always bring their own story to the photographs, because my photographs are unresolved.&raquas opposed to a film or other narrative form is that the viewer will always bring their own story to the photographs, because my photographs are unresolved.»

As a viewer, a participant and a follower, one is always granted not only a new layer of imagery and content but also a mind - expansive opportunity to clarify our base assumptions of the power of art as a whole and photography more specifically, both as a visceral experience and an intellectual responsibilitAs a viewer, a participant and a follower, one is always granted not only a new layer of imagery and content but also a mind - expansive opportunity to clarify our base assumptions of the power of art as a whole and photography more specifically, both as a visceral experience and an intellectual responsibilitas a whole and photography more specifically, both as a visceral experience and an intellectual responsibilitas a visceral experience and an intellectual responsibility.

The way I've figured to go about doing this through objects is to always try to surprise myself, decision by decision, as I build each painting with the hope that the viewing experience mimics this process, meaning that I hope that the painting unfolds, collapses, comes back together and unfolds again in a different way as the viewer navigates through it.

Trained and employed as a porcelain restorer, Douglas's craftsmanship is so meticulous that her alterations are not always immediately obvious which heightens the humorous impact of the figurines, deliberately causing the viewer to look twice.

In an interview with Asia Society Museum Director Melissa Chiu, Sze said, «The viewer's perspective and how information is revealed to the viewers as they move through time and space are for me actually what the experience of the work is always about.»

As Susan Sontag observed in the catalogue of another big show in Fort Worth, Texas: «Each picture is, ideally, a maximum seduction... the viewer may be tempted to solve the problem, abandoning the proper distance at which all the picture's charms may be appreciated to zero in for immersion in sheer colour bliss — what Hodgkin's pictures can always be counted on to provide.»

the modest Heilmann agreed, as viewers relaxed in the chairs she always adds to her exhibitions.

As always, the mixture of quasi-narrative films, which require the viewer's attention for a fixed period of time, with more traditional exhibition formats where the viewer sets the pace, feels unsatisfactory.

It resembles a Rorschach test as well, and his art has always been a Rorschach test for the viewer's feelings.

His installations, always consisting of common industrial materials, such as tape, carpet, and paint, playfully respond to the specific characteristics of an architectural site and activate the viewer's relationship to it.

Caged as they often now are behind protective Perspex, the aluminium «bichos» always look to my mind a little crystallised and cruel, even though they were intended by Clark to be handled and moved by the viewer.

In the stunning colour work that followed, she continued her exploration of perception through the relationship between structure and colour, always causing disorientation to the viewer's eye, as her paintings seem to flicker, to pulsate and to convey an internal life.

... The work, after all, must seem to «happen» before the viewer's eyes even as it must seem to have always existed.

Hofmann holds a special interest for Bay Area viewers because he gave the University of California, Berkeley, 45 paintings — some of which are always on view — partly in remembrance of his time teaching there in the early 1930s and partly to spur the university to build its own museum, as it did not long after his death.

But while Rooney's work always functions as a visual phoneme or visual conjunction of phonemes, it only functions as a morpheme or conjunction of morphemes when the viewer sees in the work meanings that Rooney may or may not have intended, and unless she has told us, we are guessing at.

«As was always her way, she left much for the viewer to interpret rather than create a didactic presentation,» Alvia J. Wardlaw, director of the University Museum at Texas Southern University, writes in an essay on the de Menils and Houston's civil - rights movement.

As the viewer shifts from one side to the other, the composite nature of the image is revealed, and with this, ideas about how the maps we consult on our screens are manipulated and always changing.

«[Gaines is] always trying to complicate the way we as viewers make relationships to things.»