Sentences with phrase «culture over its audience»

Ready Player One dumps pop culture over its audience's head like a baby playing with a bowl of spaghetti.

Not exact matches

But it hasn't been all smooth sailing for the internet culture king; Huh cut about 35 percent of its staff (24 employees) earlier this year amid lagging ad revenue as audiences have begun to favor mobile over desktop.

The director's new masterpiece is a summation of nearly everything he has learned as a filmmaker, and about black culture, but he doesn't feel the need to beat the audience over the head for each lesson he's trying to impart.

In theory, DC has an edge over Marvel in that their big heroes crossed over into mass popular culture in the 1940s and are recognisable to audiences who can't distinguish Cap's armoured black ally (Anthony Mackie as the Falcon) from Iron Man's armoured black ally (Don Cheadle as War Machine) or the colour - coded hot fighting chick on Steve Rogers» side (Elizabeth Olsen as Scarlet Witch) from the colour - coded hot fighting chick on Tony Stark's side (Scarlett Johansson as Black Widow).

Unsurprisingly, Little Nicky isn't a satirical indictment of the consumer culture of the twenty - first century but rather follows the familiar mould that usually involves the audience being introduced to an unlikeable half - wit, who surprises both us and inexplicably a beautiful woman by improving and getting slightly less detestable over the first half of the film, before losing our confidence with a stupid mistake and then winning it back again with a rousing finale.

St. Kitts» culture and heritage as well as its wealth of attractions were showcased to an audience of over 77,000 people in the New York metropolitan region.

by Kostas Prapoglou Having developed a profound interest in the culture of hacking, the perplexed world of computer programming and information technology, New Zealand artist Simon Denny has taken over the Serpentine Sackler Gallery in order to convey these fascinations to the London audience.

Having developed a profound interest in the culture of hacking, the perplexed world of computer programming and information technology, New Zealand artist Simon Denny has taken over the Serpentine Sackler Gallery in order to convey these fascinations to the London audience.

«We are pleased to bring these pioneering film and video works to our audiences as a way to learn about the development of this media over the past 50 years and the impact it has had on modern culture.»

The success of The Photographers» Gallery over the past four decades has helped to establish photography as a recognized art form, introducing new audiences to photography and championing its place at the heart of visual culture.

A dedicated educator, arts and culture professional with over fifteen years of experience, Ms. Cunningham is skilled at audience engagement and curation of authentic experiences through imaginative programming.

Extending across the entirety of the museum, the exhibition allows for free association between artists and the themes they address: at once playful and dynamic, works from Ryan Gander, Institute for New Feeling, Liu Wa, and Yangzi invite audiences to explore a wealth of possibilities through combinations of meditation and wry humor; classical mediums of sculpture and painting are reinvented by Yngve Holen and Austin Lee; insidious implications of our hi - tech society are skewered by Lawrence Abu Hamdan and aaajiao; the powers of synthetic materials over human desire are brought to the fore by Sean Raspet and Pamela Rosenkranz; and products of Internet culture are given to refined study with Gillian Wearing and Amalia Ulman.

The colourful, fabric sculptures have been the unparalleled source of speculation for international audiences over the past few weeks, inviting populations en masse — even, or perhaps especially on its closing day — to walk through Hubs (2015 - 2016), an ethereal corridor of culture and sensory stimulation.

Mr. Schimmel resigned under pressure in late June after months of increasing tension with the museum's director, Jeffrey Deitch, a former New York gallery owner who took over in 2010 with a more pop - culture - oriented vision of the museum's mission and a mandate to expand its audience.

By providing the public with immediate access to view the portfolios and credentials of over 250 artists and designers via the internet; through meaningful partnerships with other cultural organizations; through community - based activities and exhibitions; and through an extensive online body of timely art information, InLiquid brings to light the richness of our region's art activity, broadens audiences, and heightens appreciation for all forms of visual culture.

I don't think it's so much that companies and creators in Japan are trying to cater to a global audience — though that's certainly true in some cases — as much as it is the rest of the world becoming increasingly acclimated to Japanese culture and media over the last couple decades.