The dramatic use of language matters here in the most concrete way.
Not exact matches
A generation
of audiences reared on television is
used to animation, emotional appeal, kinesthetic participation, narrative and
dramatic structure, and skillful
use of an «audiovisual»
language.
The work
uses strong nation - building references, such as referential movement depicting a group
of people going towards their death, then becoming trees, ocean, and forming a strong collective out
of a group
of individuals; its
language movement is very
dramatic and places a strong emphasis on unison movement rather than individual dancers.
Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and
using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention
of digital shooting) camera merely as a functional recording - device rather than as an originator
of instant meaning and knowledge as in Hollywood, this film remains the best summation
of the truism that a longwinded presentation
of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic
language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode
of filmmaking but is more
dramatic than any car chase.
Recommendations encourage teachers to
use a mix
of phonics and
language experiences to support the development
of a wide range
of learners in a context where literacy demands are increasing at a
dramatic rate.
Students learn to: - Define key terms related to the historical context
of The Holocaust; - Remember and understand key information about Anne Frank's experiences, that they learn from an engaging PowerPoint presentation; - Read extracts from Anne Frank's diary; - Answer a range
of questions to demonstrate their understanding
of Anne's diary; - Analyse the
language features
used by Anne Frank to create
dramatic images in the mind
of the reader; - Peer - assess each others» learning attempts.
Sandwiched among the
dramatic vignettes
of the story, Greenwood pauses to pepper the book with historical sidebars about the «secret code»
language used by those who helped shuttle slaves north to safety; a biographical sketch
of Harriet Tubman, known as «Moses» to those along the route; a brief history
of storytelling among southern slaves; a scientific explanation for the «swamp ghosts» many slaves encountered along their escape routes; an inside look at some
of the methods
used to hide slaves from capture; and much, much more.
In particular, the lesson focuses upon the
language used by Claudio and Leonato to denounce Hero (with links to the expectations within the social / historical context
of the renaissance), the
dramatic response to the allegations, and Benedick's altering priorities.
Make sure to craft this critical piece
of marketing material
using active verbs, clear
language, and every
dramatic trick you know.
Admittedly they are helped by the tendency
of some people in politics and the media (and in discussions on the internet
of course) to
use dramatic, alarmist even,
language when faced with relatively mundane issues but I don't see any realistic or responsible alternative to telling it how it is.
In my brief life, I have witnessed a
dramatic shift
of formal to informal
use of language, heavily reflecting the digital age.