Sentences with phrase «audience identification in»

But this provocative idea is quickly lost to muddy motivations (Zeus was always a flip - flopper, but just try to follow his train of thought here) and tiresome action that suffers from a lack of audience identification in a hero who sorta wants to save the day, as long as it doesn't mean taking any favors from Dad.

Not exact matches

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For example, both employ some of the devices Suleiman discusses for creating an identification between the audience and either the narrator or characters in the story.

The film slides into its situation in a clever, fresh way, and the balance of wit and horror is well maintained throughout, though Sayles's decision to divide up the protagonist's chores among four main characters costs him something in the intensity of audience identification.

Directed by Steven Spielberg, one of America's most accomplished modern - era directors, the film is both technically and emotionally powerful, rudely propelling its audience into the sheer nightmare of the war arena in order to shock it out of its customarily passive role and engender some level of emotional identification with its key characters.

As Michael Atkinson has written for Criterion, «Without its iconic precedent, there would have been no Humphrey Bogart, no John Garfield, no Robert Mitchum, no Randolph Scott, no Jean - Paul Belmondo (or Breathless or Pierrot le fou), no Jean - Pierre Melville or Alain Delon, no Steve McQueen...» Soon after Pépé, Renoir's antiwar masterpiece Grand Illusion hit, and it was an even bigger smash, cementing Gabin's superstar status; in this and all of his most successful roles (La bête humaine, Le jour se lève), Gabin played some form of working - class social outcast, and he always provided audiences with a strong point of identification.

In its dogged rejection of easy audience identification points and its gradual untethering from logic, The Alchemist Cookbook only offers a platform for Potrykus to push his authorial quirks further.

In a different, perhaps more box - office - savvy film, Kai would be a Western audience identification figure, but in 47 Ronin, he's the most mysterious character, an outsider devoted to social codes of selflessness and rank, content to receive no respect from the other characterIn a different, perhaps more box - office - savvy film, Kai would be a Western audience identification figure, but in 47 Ronin, he's the most mysterious character, an outsider devoted to social codes of selflessness and rank, content to receive no respect from the other characterin 47 Ronin, he's the most mysterious character, an outsider devoted to social codes of selflessness and rank, content to receive no respect from the other characters.

Ruzowitzky uses camera angles designed to force audience identification with the prisoners, and one scene late in the film follows suit with subjective audio effects — a very flat soundmix, with muffled dialogue — to put you inside Sol's head, his senses going dull after he witnesses the death of another inmate.

The male here is the weaker of the two, which positions every male in the audience, in short, against the grain of their own vicarious identification.

But almost nobody, at least so far, appears to be acknowledging how radically subversive this film is — not so much in terms of its politics (though its worldview is cynical enough to alienate many humanist - minded viewers), but in the way it blithely torpedoes the most basic rules of audience identification.

Every step requires in - depth market analysis, as well as identification of the right audiences.

Love Story — a seven - channel installation by Candice Breitz — interrogates the mechanics of identification and the conditions under which empathy is produced, prompting viewers to consider: Why is it that the same audiences that are driven to tears by fictional blockbusters, remain affectless in the face of actual human suffering?

In focusing on the family trauma at the heart of The Brood, Breitz pays tribute to Cronenberg's ability to draw audiences into psychological identification with his characters, suggestively adding the voices of her own family to a palimpsest that already folds Cronenberg's family narrative into that of the fictional family in The BrooIn focusing on the family trauma at the heart of The Brood, Breitz pays tribute to Cronenberg's ability to draw audiences into psychological identification with his characters, suggestively adding the voices of her own family to a palimpsest that already folds Cronenberg's family narrative into that of the fictional family in The Brooin The Brood.

• Highly effective in building and executing social media strategies through detailed research and audience identification