Sentences with phrase «does narrative work»

... So I didn't have as much pressure, let's say, on me to do narrative work...» — Jack Whitten

Not exact matches

When they didn't work, the narrative of the policy community — unsubstantiated by any facts — was to say Canadians have a lack of fire in the belly.

When we were building the campaign, we did explore the idea that our summer athletes might consider themselves underdogs — that's a narrative we could have worked with.

Her story is the classic real estate investing narrative of hustling to do repair work and property management.

We are working in partnership with others to start a New Narrative — a conversation with Canadians about our sector — who we are, what we do and how we are making a difference.

Yet when that is said and done the narratives need to be studied not only in the closest detail but also in relation to the whole problem of Christ's person and work.

Sometimes the most secular of scholars found that what Frei was doing, with his attention to narrative and his interest in the language that shapes a particular community, made more sense to them than the work of many theologians much more systematically concerned to address other academic disciplines.

The work is being done without much collaboration and cross-fertilization, and no comprehensive educational methodology of narrative has been developed.

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.

What it can do is to work towards a discovery of the earliest strata of material in the gospel narratives, and thus indicate what it is highly likely the earliest disciples believed.

Featuring a truly all - star voice cast back when stars were less inclined to do voice work (Val Kilmer, Ralph Fiennes, Sandra Bullock, Patrick Stewart, Helen Mirren, Jeff Goldblum and even Steve Martin got in the game), Prince of Egypt is largely faithful to the biblical narrative and even manages some real moments of human drama.

Nor did it occur to Marcus to write his book for Jewish readers anyway; what he put together was a narrative of the mighty works and death of Jesus — a book largely devoted to explaining why Jesus had died — and he wrote it, not for Jews, but for Gentile converts and «listeners to the word.»

Ultimately this elliptical, even eccentric involvement of biblical themes, figures, and narratives does not make for a work of superior accomplishment in either religious or literary terms, whether by comparison to masterworks of the past or the finer novels in Coetzee's own oeuvre.

I know this kind of wrecks the convenient narrative you've been working for the past 60 or so years (and hitting especially hard the past 18 months), but honestly that nasty bit of heresy has done enough damage already and it needs to go.

They don't work with people who haven't already bought the narrative.

I don't protest the order of the chapters but suspect, along with a lot of others who've worked this through, that this Cave narrative was originally independent of the sequences of the drought in 17 - 18.

Thus, if we use the now standard symbol of «J,» «E,» and «P» to designate the three most conspicuous narrative strands inter-woven in Exodus (as well as in Genesis and Numbers), we will think of «J» as the recording of early traditions which remained current and fluid down to the tenth century B.C., when the J - work was done by a single man (in this respect probably unique among the three primary sources).

I find it hard to fathom how Dominic Cruz, as a fighter himself, doesn't seem to mind completely ignoring a particular fighters good work because he knows which narrative the UFC prefer.

I can only hope that this attempt is taken more seriously than the largely muted and clearly unsuccessful protests of late last season... although the plane writing escapade brought some much - needed attention to the matter, it failed to resonate with fence - sitters and those who had just recently fell off the Wenger truck... without a big enough showing of support the whole endeavor appeared relatively weak and poorly organized, especially to the major media outlets, whose involvement could have significantly changed what was to follow... but I get it, few wanted to turn on their club, let alone make a public display of their discord... problem is, they are preying on that vulnerability, in fact, their counting on you to keep your thoughts to yourself... who are you to tell these fat cats how to steal your money... they have worked long and hard to pull the wool over your eyes... they even went so far as to pay enormous sums of cash to your once beloved professor to be their corporate spokesmodel so that the whole thing would be more palatable... eventually the club made it appear as if this was simply a relatively small fringe group of highly radicalized supporters, which allowed the pro-Wenger element inside the club hierarchy to claim victory following the FA Cup win... unfortunately what has happened to this club can't be solved by FA Cups or a few players coming in, the very culture of this club needs to be changed and that starts at the top... in order to change the unhealthy and dysfunctional narrative that has absorbed this club we need to remove everyone who presently occupies a position of power... only then can we get back to the business of playing championship caliber football, which should always be the number one priority of this organization... on an important side note, one of the most devastating mistakes made in the final days of this hectic and poorly planned transfer window didn't have to do with the big name players like Sanchez or Lemar, but the fact that they failed to secure Jadon Sancho, who might even start for Dortmund this season... I think they might seriously regret this oversight... instead of spending so much time, energy and manpower pretending that they were desperately trying to make big moves, they once again lost the plot due to their all too familiar tunnel vision

The societal narrative is that something must be wrong with you if you can't make your marriage work — you're not committed enough, you're not willing to do the hard work, you're deeply flawed or incredibly selfish, etc. — instead of acknowledging that, hey, sometimes people make mistakes.

Still, that didn't work so well for politically active women and behind the scenes another bleaker, less cheerful narrative operated in respect of men and women alike.

I must admit, it stretches incredulity that Labour should get all worked up about a politician «lying» - this is not to defend Hague from what he may or may not have done, but to point out that there is an (ever - present) case of Pot Kettle Black here, for which reason the narrative is unlikely to gain much traction beyond titillating SW1 and its acolytes.

Our narrative's supposed to be hard - working people better off, NOT artisanal carbofucks doing a Pride and Fucking Prejudice minuet round some hipster - ass bakeout!»

But Cuomo has worked well with the chamber's ruling Republicans, and reaching across the aisle to get things done is a fundamental part of his narrative.

Abbott told the Statesman that the benefit cap was «part of a political narrative which demonises welfare claimants; most of the public don't understand that half of welfare claimants are pensioners and that another quarter are in work.»

Ed Miliband doesn't need to set out concrete policies — it would be good if the Labour movement is given a real opportunity now to help draw up that political alternative, but the party desperately needs a narrative and to be seen identifying with working and middle class voters who now find themselves at the sharp end.

Clarke doesn't feel she could have done anything differently to avoid questionable interpretations of her research, and she advises scientists to recognize that they'll never have full control over the narrative about their work.

Goodfellow has been working on machine - learning models to let computers invent more dynamic narratives, which could go beyond limited scenarios such as planning out a series of chess moves — something computers have done extremely well for decades.

(Zhang's discovery narrative is long, detailed and colorful; Doudna's appearance comes in the middle of a paragraph, and her work doesn't get nearly the same star treatment.)

lacks the straightforward narrative or melodic thrust of The Wall, but it isn't as somnolent as The Final Cut, and if the songs don't call attention to themselves, they nevertheless form a long suite that works as a sustained mood piece.

The music, the interviews, the interleavening of stock footage, the way the various modern narratives and backgrounding histories are fitted together: All of this works toward a successful expression of what means a thing because it does have that swing

While Rockstar San Diego may find some difficulty in filling its open expanses with interesting and emergent play, it does imbue it with a stark beauty and compelling narrative that makes Redemption more than just an allusion to cinema, but a piece of work that can confidently stand next to it.

... However, thanks primarily to the season premiere's director, Tim Mielants, who does excellent work on AMC's The Terror, one comes out of the first episode with feet placed firmly on the show's narrative ground.

The episodic bent of the film's first half - much of the narrative seems to follow the central characters as they fight one fire after another - does test the viewer's patience to a fairly demonstrable degree, and it's clear that Backdraft, by and large, works best when focused on the rivalry and relationship between the central figures (and how it ultimately affects their respective work).

It's ultimately clear that The Finest Hours is at its best in its relatively propulsive first half, as director Craig Gillespie, working from a script by Scott Silver, Paul Tamasy, and Eric Johnson, does a nice job of establishing the the central characters and the dangerous circumstances in which they find themselves - with the screenplay, which also emphasizes the ongoing exploits of Bernie's girlfriend (Holliday Grainger's Miriam), generally juggling the various narrative threads to seamless effect.

Filmmakers John Francis Daley and Jonathan M. Goldstein have infused Vacation with an almost aggressively episodic narrative that grows more and more problematic as time progresses, as the movie suffers from a hit / miss ratio that is, to an increasingly palpable extent, far more miss than hit and it does consequently become awfully difficult to work up any genuine interest in the protagonists» continuing exploits.

«Legacy» very much feels like Arrow trying to find its footing once again, and though the episode takes some steps in getting the show back on top, more work has yet to be done to redeem the series for last season's jumbled narrative.

There's little doubt that Stone does an impressive job of authentically establishing the movie's cut - throat world of high finance right from the outset, as the filmmaker, along with coscreenwriter Stanley Weiser, offers up a blisteringly - paced narrative that rarely pauses to explain exactly what the central character does or how all of this works.

«Trapped» gets its narrative from the current state of affairs, in that it is more about the stagnant, daily chaos wrought by these bills (the struggle of a Tuscaloosa clinic to stay open while not able to serve anyone does provide a small arc).

There's no tension, no forward narrative, more cliches than a Roland Emmerich film, no proper establishing of scenes or the geometry of said scene so you can work out where everyone is and what needs doing and some piss poor acting.

Here's what I hope it's not about: women doing all the narrative and emotional heavy lifting while the man looks on, by turns exasperated and admiring, as his «wives» work it out.

A Madea Halloween has all the earmarks of a play and it shows quite often through out its structure, which sadly goes against the three - act narrative that makes movies work when done well.

It's important to keep pushing for the types of characters people want to see on screen, and Black Panther has done great work in giving the world a cast of crucial black women whose lives are full and whose actions define the narrative.

It's an unabashedly high concept premise that's employed to positive effect by director John Landis, although it does go without saying that the lion's share of praise for the film's success belongs to both Aykroyd and Murphy - as the actors» exceedingly engaging work ultimately proves instrumental in smoothing over some of the more questionable elements within the narrative.

The difficulty lies in balance: How do you create a sequel that honors the original work yet makes a visual and narrative case for itself?

And while Tibbetts has admittedly peppered the narrative with a few standout sequences (eg Martin attempts retrieve Jack's handgun while the man is unconscious), Retreat has been saddled with an aggressively uneventful midsection that does, in the end, diminish the impact of its final scenes - which effectively cements the movie's place as a thoroughly misguided piece of work.

James Tynion IV has done remarkable work crafting compelling drama around the Bat - family with his Detective Comics run, taking cues from the Chris Claremont school of superhero storytelling to build a dense narrative featuring a big cast of characters, each with their own subplots.

While I found it interesting to form my own rationale as to what the film is about, by the same token, I often am reluctant to actually recommend films that don't work on fundamental narrative terms without having to read personal philosophical theories into them.

He added, «The movie works so well for several reasons, and they don't all have to do with the spectacular special effects... [«Star Wars»] relies on the strength of pure narrative, in the most basic storytelling form known to man, the Journey.»

Isabelle Adjani does ferocious work in the title role of Camille Claudel, despite being stuck in a standard biopic that requires her to skip from one emotion to another as the historical record dictates; she's frequently mesmerizing to watch, but director Bruno Nuytten (then Adjani's offscreen partner) clearly believes that tempestuous behavior is a magical cure - all for narrative torpor, and leans on her energy a bit too hard.