Sentences with phrase «emotional narrative on»

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.

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.

But as each and every player engages in debates - concerning, among other things, art, the artist's perspective, and male - female dynamics - Guerín focuses as much attention on the slippery boundary between documentary and fiction, in turn engaging with an evolving narrative, increasingly complex character dynamics, and an endlessly vivid emotional journey.

Despite the nightmarish subject matter of a disappearing child, the execution here doesn't get too disturbing or emotional (compared with the TV miniseries «I Know My First Name Is Steven,» which had stuck with me for a long time not only because of its being based on a true story but also because its narrative actually depicted the horrors the vanished child was going through while his parents helplessly searched for him - this story doesn't follow Oliver after he's gone.)

Critics Consensus: A complex meditation on family dynamics, Tetro's arresting visuals and emotional core compensate for its uneven narrative.

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.

In a series that relies so heavily on the emotional turmoil of its characters, not being able to see that on the faces of its numerous denizens removes you from its narrative.

While this relentless pacing keeps things enjoyable on a narrative level, it limits our emotional connection to James and Rose despite committed performances from Nathan and Angourie.

Attempting to strike a balance between all four, Taylor - Johnson focuses on the development of the emotional relationship between the protagonists rather than an exploration into the world of sadomasochism, which steers the source material's narrative.

The bleak and confusing narrative vaguely touches on issues of grief for emotional impact, but it's the silly playfulness of the film and Cusack's dedication to it that make 1408 work on its own limited terms.

A big aspect of the film relies too much on a random coincidence which is always a pet peeve of mine, leading to a subplot that could have been removed without any narrative consequence, but at the same time it's this part of The Drop that gives it a tender heart which allows for a deeper emotional meaning.

The director Lynne Ramsay's latest film, starring Joaquin Phoenix, is high on style and talent, but low on plot, narrative, or emotional connection.

The result is a sensitive and character - driven examination of life on the fringes, providing small yet rewarding narrative surprises instead of settling for cheap emotional payoffs.

Tagged With: Alex Kurtzman, alter ego, based on a true story, Chris Pine, emotional truth, estranged father, exploding cans, half - sister, narrative

It also features extended dialogue - free sequences, relying on music and image to propel a narrative that manages to be deeply emotional instead of technically alienating.

Instead of allowing the drama to unfold naturally, which this rich emotional story so grounded in reality seems to warrant, the film insistently relies on breaking the narrative drama onscreen, with voice - over narration accompanied by undeniably sublime visuals.

Who's Watching Oliver makes a strong, emotional impression with a very unconventional take on the serial killer narrative.

Attention to the characteristics of drugs, the effect on behaviour and the emotional state of an addict provide both the narrative for the dance and the focus for the development of expressive skills.

To help the students personally connect to writing, Mount Desert uses the Reading and Writing Project (RWP) from Lucy Calkins of Teachers College at Columbia University, which focuses on writing narrative from a personal and emotional perspective and places a strong emphasis on reading topics matched to the students» reading and comprehension ability.

Through extensive study in the areas of next generation learning, social and emotional learning, wellness, urban planning, Hip - Hop culture, Chicago history, the opportunity gaps that exist among marginalized students, economic mobility, arts education, and the at - risk communities on Chicago's South Side, Art in Motion has a solid research foundation upon which to build an innovative middle and high school that has the potential to change the narrative for many Southside youth.

As an editor and publisher, I love helping authors enrich their prose, pare down and tighten their writing, pick up the pace, and hone a narrative arc that takes the reader on a compelling and emotional journey.

Truth be told the quality of both the writing and main narrative thread is all over the place, bouncing madly from genuinely beautifully written moments with emotional impact and outstanding twists sure to leave you with your jaw on the floor to scenes with clumsy dialogue and ideas that just didn't work out as well as I would have liked, though exactly how much of this inconsistency can be put down to translation issues is hard to judge.

For me, narrative experiences interwoven with engaging and exhilarating gameplay are the types of games that I adore, which is why I am keen to get my hands on A Way Out, a cooperative Shawshank-esque jailbreak experience written, directed, and created by the talented team behind the wonderfully emotional Brothers: A Tale of Two Sons.

After the trailer ended, Creative Director Michel Ancel and Narrative Director Gabrielle Shrager walked on stage and were clearly emotional from the response.

Speaking with Paul Crocker, Lead Narrative Designer on Arkham City, at rAge, he stated that «You're trying to find out the mysteries behind Arkham City, behind what is going on, all while Batman is being put through an emotional rollercoaster.»

Also available this week is a trio of titles for Xbox One owners... One Piece: Burning Blood is a fighting game based on the popular anime and manga, TurnOn is a puzzle platformer starring an electric alien, and Fragments of Him is a melancholy and emotional narrative game.

There will still be tons of emotional value and context provided in the game, with a diverse cast to help bring the narrative to life, and as the player explores the ship of Tacoma, they will uncover the secrets within and all the events that have transpired since the ship has taken off and the people on board had joined the crew.

It's a narrative that tries to focus more on the emotional ties between characters and the families, with the newcomers growing up in their parents» shadows, yet being responsible for saving Earthrealm from its latest threat.

Feel the heartbeat of shinobi heroine Asuka via the unique properties of the Joy - Con ™ controllers, and embark on an emotional rollercoaster with this hands - on narrative featuring branching story paths and introducing a brand new genre to the SENRAN KAGURA oeuvre!

Narrative, harrowingly beautiful, immensely powerful, and as two separate studios have already proven themselves capable of moving the player on an emotional level, here's hoping Square Enix as a publisher keeps supporting this in the future.

Short on specifics and long on allusion, the narratives she evokes suggest a wide emotional range.

These works describe a personal emotional state and tend to be strident and angst ridden but still relies on elements that are recognizably realistic for additional narrative power.

Conceptually each of the three video installations revolves around a single female protagonist whose emotional and psychological narratives remain on the border of dream and reality; madness and sanity; and consciousness and sub-consciousness as they each face their own distinct inner anxieties.

A modern day «Expressionist», Emin explores ideas of narrative disclosure, drawing on subjects that are intimately bound up with her own biography, recalling events, dreams or emotional states in works that are starkly honest and personal, yet familiar and universal.

Through a dizzying array of vividly coloured screens, experimental compositions, large - scale banners, a tiered stage and an accompanying audio narrative, these works come together to take visitors on an emotional and sensory journey through the exhibition.

The In situ props, which all share the symbolic value of both escape and uprising, interact with wanderers on various levels: may these be physical, visual, narrative or emotional.

Whereas, Duane Michals, on the other hand, trained his philosophical interests toward more liminal in - between spaces of what he called «indecisive moments,» which generate ambiguous emotional narratives that he heightened through photo sequences accompanied by his poetically personalized texts.

Through the collapse of documents, fiction and biographical elements, the work exists between an emotional and affective narrative, while simultaneously being political and grounded on conspiracy theories about earthquake machines.

At that time, the representation of the human figure was rejected on principle, but narrative and emotional aspects began to resurface in the art of the 1980s, along with the face as the dominant element of the human form.

These abstract paintings were designed (1) to explore human emotional reaction to various colour combinations, without distracting the viewer with unnecessary content, or narrative; and (2) to create a sense of movement on the canvas, thus creating an ultra-primitive life form.

The exhibition's curator Richard D Marshall describes how, alongside these emotional elements, Pierson simultaneously focuses on the more formal aspects of art and «frequently and deliberately undermines the strong emotional and narrative content of his subjects by using unexpected configurations and by obliterating legibility in an ongoing quest to reconcile representation and abstraction».

Emotional bias is one of the important mechanisms which helps to drive narrative takeovers; I am close to completing a short piece on this that I'll send for your consideration.

Originally released in 2012, The Darkness II from developer Digital Extremes and publisher 2K Games brought players into a suitably dark and emotional narrative picking up two years after the original game, and now anyone on PC can pick up and experience the game for free.

Our review of PaperSeven's narrative experience Blackwood Crossing dives into the game's emotional and heartbreaking take on childhood whimsy.

As the child adopts the role as the «regulatory other» for the narcissistic / (borderline) parent's pathology in order to avoid the emotional collapse of the narcissistic / (borderline) parent into chaotic and unpredictable displays of intense parental anxiety, sadness, or anger it becomes relatively easy for the narcissistic / (borderline) parent to then communicate to the child through clear but subtle «emotional signals» and «relational moves» that the parent's emotional regulation is dependent on the child adopting the «victimized child» role in the narcissistic / (borderline) parent's trauma reenactment narrative.

Narratives focusing on actions or events, not acknowledging emotional states or interactions, receive scores of 3.

Narratives characterized by rich secure base content receive a score of 6 or 7, depending on degree of elaboration in the emotional interactions included, narratives containing some elements of the SBS but restricted in detail are scored as 5 and narratives with minimal but clear content indicating a secure base script are scNarratives characterized by rich secure base content receive a score of 6 or 7, depending on degree of elaboration in the emotional interactions included, narratives containing some elements of the SBS but restricted in detail are scored as 5 and narratives with minimal but clear content indicating a secure base script are scnarratives containing some elements of the SBS but restricted in detail are scored as 5 and narratives with minimal but clear content indicating a secure base script are scnarratives with minimal but clear content indicating a secure base script are scored as 4.