Sentences with phrase «different kind of narrative»

Different kind of narrative set ups that all build a head.

These things all work together to create a different kind of narrative experience, one with its own pacing, characters, plot, and dialogue, separate from the explicit story.

Through this introspective yet performance - oriented approach, Linwood often depicts scenes of everyday life, deploying cross-referencing techniques to investigate different kinds of narrative while highlighting the effects of time and politics upon artifacts, social practices and human bodies.

Not exact matches

Recognizing the different social functions of different kinds of stories offers a route into a more nuanced educational theory of the narrative method.

For the moment I will only say that the Resurrection narratives contain material of very different and sometimes apparently contradictory kinds, and of unequal historical value.

I'm tempted to launch into a whole feminist analysis of how a female figure must always be sacrificed (or sacrifice herself) in order for the male hero to succeed in his quest, but my reaction to such narratives has taken on a different kind of emotional resonance now that I have a son.

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.

«White House Down» also features a black president, played by Jamie Foxx, but it's a different kind of progress narrative.

There are many different kinds of essays, including narrative, descriptive, and persuasive.

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He said any new title would be «a different kind of game» that what it has developed before, with a focus on narrative and replayability.

The kind of narrative wrap up that makes you think about your time with the game in a completely different way.

Whereas in film you're responding to the narrative and the process for each film is generally quite similar, with games there are so many different kinds of them, and within each game, different sets of circumstances, so from project to project there is almost always going to be a new issue within music that needs to be tackled and dealt with.

This access, which has broadly democratized the field, has created not only a larger and more engaged audience for this kind of art, but has also created more opportunities for this work to be contextualized within the larger narratives of contemporary art, as can be seen in the various approaches of curators such as Lynne Cooke, Massimiliano Gioni and Daniel Baumann, for example, all of whom have, in different ways, framed the work of self - taught artists within their curatorial projects.

Their work embraced different forms of narrative, often with psychological or erotic overtones, and new kinds of self - awareness and worldliness.

In her film work, Morris both seduces and alienates the viewer, employing different kinds of cinematography, from documentary recording to seemingly set - up narrative scenarios.

Today Kemang Wa Lehulere lives between Johannesburg and Cape Town and is one of the most important representatives of a new generation of South African artists who work in all different kinds of genres and media in order to develop new artistic perspectives and narrative modes, as well as new forms of political action.

This four - panel polyptych belongs to his series of abstract works, a series that contains none of the figurative and narrative references of his previous stage, thereby defending the coexistence of different methods in the arena of a kind of painting untouched by dogma.