Sentences with phrase «different narrative points»

One of the things she does with the film is a tracking shot that connects the different narrative points very slowly.

In particular, she is so skilled at seamlessly shifting between different narrative points of view that readers will often be entirely unaware of these moves unless and until they choose to analyze the story more fully.

Not exact matches

In a novel's case, it's different — you're just cutting the fat: plots that don't need to be there, excessive descriptions, etc. (I work as a magazine editor so I've learned how to cut, cut, cut, without losing the point of the narrative.

Narrative theology accepts the premises of post-modernism at many points but draws a radically different conclusion.

What gets blurred is the sharp Hebrew imagery of two different temporal points in a narrative process: first the perimeters are breached, then the entire fortress is reduced to rubble.

We should begin to see at what point the notion of God's design — as may be suggested in different ways in each instance, it is true, by narrative, prophetic, and prescriptive discourse — is removed from any transcription in terms of a plan or program; in short, of finality and teleology.

It's at that point that»71 starts to become a different movie — less an observant narrative of chaos and resistance and more an absurdist thriller.

In fact, it's probably a little overdone — the two parts of the narrative can't be more than 6 years apart, surely — but it certainly drives home the point that they're completely different people from when they first met.

While low budget, «They All Come Out» is an interesting film that does offer a different point of view and look at the prison system, as well as an intersting blend of documentary and narrative filmmaking.

These random acts of strangeness are literred throughout the extremely dark narrative which eventually takes a turn for the even darker plot - point 50 minutes in which steers the movie into a completely different direction, very much for the better.

I've seen Certified Copy five times now, and each has pointed me in a different direction toward what I think the answers of the cryptic narrative might be.

«Students can succeed from different curricular entry points, so it is incumbent on each department, as well as the University, to provide students with alternative narratives of success and multiple pathways to fulfilling all departmental requirements.»

Every chapter contains some pages from Daniel's book which, rather than distracting from the narrative, make it possible to show a different point of view in a novel fashion.

I think the way the narrative skipped around in the lives of the three main characters worked from an emotional point of view, matching up the different experiences that they were having in relation to each other.

There was one point halfway through draft one where she suddenly pointed out something huge — the way in which the three different narratives weren't interweaved tightly enough.

However, it does a great job at keeping each area feeling fresh — different goals, different playable characters, different weapons (or lack thereof), different enemies, different story, different points in time in the narrative.

There's only one point in the story where you can briefly alter the narrative flow by choosing between two factions, and opting for a different character class leads to different special moves but not much else in terms of gameplay changes.

Gustavo explains: «This unique structure allows us to enter the narrative from any desired point, creating a multiplicity of different reading possibilities.

Woman I (1950 - 52) is given a wall, but the spot it occupies in the narrative marks the point in the show where the installation becomes confusing, loses concentration, and where large rooms turn into vast halls where even great works seem like orphans (the scale of the David Smith and Franz Kline room does these artists a disservice as the temperature drops and the corporate quality rises although the same works in another context would feel very different).

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.

The installation — which the artist has interpreted as a metaphor for time, where the trail of all memories is condensed on a single point in space — synthetizes the core points of the artist's research, that is, the presentation of suggestive situations whose narrative must be completed by the viewer; the simultaneity of different temporalities; and the game between reality and representation.

From the experimental video game designer Jason Rohrer's two - person game «Sleep is Death», to the destabilised serality of Allen Grubesic's straight - faced jokes, the artists gathered in «The Ha - Ha Crystal» use different methods to look at the breaking point of (visual) narrative.

The scene is composed of two screens, one of the criteria respecting the most consistent in the work of Julien break the same film in many different views, so that the viewer can choose his point of view and that the narrative is never repeated the same.

Taking this as a starting point, Chiurai's images attempt to disrupt the colonial narrative by imagining a radically different reading of history from which to consider a truly alternative Afro - future.

Dissected, recombined and transformed into patterns, shapes, objects and expressions, language in this exhibition resists immediate readings, becoming instead a pliable medium and point of departure for different practices and narratives.

Though they arrive at similar conclusions, alternative climate narratives may have different starting points, as well as different narrators, characters, and plots.

This is quite different from dwelling in the past to the point of luxuriating in a stale narrative that serves only to punish the other and re-injure (or even re-traumatize) the speaker with each recitation.