Sentences with phrase «for narrative sequences»

In particular, Bearden seems to have been interested in exploring the potential for narrative sequences, which his somewhat younger contemporary Jacob Lawrence had been doing with great success, most notably in the 1941 series «The Migration of the Negro.»

They're characters who you often don't want to play as or play with and with voice acting that you need to switch over to a foreign language in order to tolerate it, it makes for narrative sequences that you just want to skip your way through.

Not exact matches

The intricate world views and belief systems of congregations constitute the setting of their corporate narrative, while their traditional histories, the sequences of past events selected for retelling, correspond to plot.

And narrative provides temporal form for its plot, the sequence of events it selects and retells to confirm its identity.

A typical example of the mid -»80s «Rat Pack» film, Oxford Blues featured a soundtrack with several forgettable rock songs written expressly for the movie, interjected at intervals into the narrative through music video - style sequences.

The inclusion of several admittedly electrifying sequences - ie Gekko's infamous «greed is good» speech - generally compensates for the periodically overwhelming narrative, although Stone's reliance on a progressively conventional structure, particularly in terms of Bud's familiar rise - and - fall character arc, ensures that the movie peters out as it approaches its far - from - unexpected conclusion.

Fortunately, the movie doesn't feel like an overextended sketch though it does have its narrative detours that dawdle (a celebrity drug deal is padded out with far too few jokes), running jokes that hold on for a beat too long and then some (the George Michael fascination culminates in a drug sequence that does absolutely nothing), and there are missed opportunities that seem obvious (Key using his new gangster friends to intimidate a man making advances on his wife).

Like most of the supporting characters, Holmstrom doesn't add much to the narrative, but his presence is the rationale for turning some of the scenes into Punk - style drawings or animated sequences; these are among the ways the director thumbs his nose at literalness.

Add two dream sequences woven into the narrative with sinister subtlety, and it becomes apparent that the entire film plays like a projection of a male wet dream - cum - nightmare of a libido that knows no borders, leaving Sung - nam apologizing absurdly to his wife for things he said in his sleep.

Johnnie To is most famous for his «Election» films, gripping crime dramas about rival gangs and who controls them, but before he made those, he directed a film (with Wai Ka - Fai) that oozes charm, a clever narrative structure and excellent action sequences.

Hasford also contributed to the screenplay, although the film version is told in two «chapters» instead of the book's three (The boot camp depiction is faithful to its source; the war reporter and Vietnam battle sequences are condensed and combined for narrative brevity.)

A characteristic surge of images is the sequence that begins with the departure of Bill (Richard Gere) with the circus performers and ends with the time - lapse image of sprouting seed; there is no dialogue, save for the offscreen narration, no narrative content, and no continuity, but only the overwhelming power of the images which have not degenerated into «signs» or «symbols».

The larger scope of the sequel allows for Evans to flesh out the narrative, but too many chatty gangsters almost cripple the momentum between incredible action sequences that certify Evans» ascension to a supreme action cinema maestro.

While this film certainly does break some new ground from a cultural level, this entertaining action flick also feels a little too big for itself at other times because as well done as the narrative and storytelling aspects of this film are executed, occasionally the action sequences don't...

Jurassic Park III ultimately falls right in line with its immediate predecessor, as the film, though equipped with a handful of effective sequences, simply isn't able to carve out a place for itself as a legitimately necessary followup (ie there's nothing within the narrative that advances the Jurassic Park story as a whole forward).

In terms of narrative structure, the previous Spielberg film that Lincoln ends up most resembling is Close Encounters of the Third Kind (1977), which while a more consistently entertaining film still provided a dramatic change in pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that long.

Reitman and Cody aren't especially interested in a narrative that's about a woman rediscovering the joys of family life — or, for that matter, one that's about a woman casting off those shackles, despite a late - movie sequence where Marlo and Tully tear it up in the former's old Bushwick haunts (complete with the perfectly and silently observed rigmarole of driving into Brooklyn from the suburbs even when there's not much traffic).

Additionally, Wright uses flash - back and - forward as well as fantasy sequences to build a not entirely linear narrative that enhances the emotion the audience feels for the characters and their plight.

The sequence doesn't quite fit in with the narrative of the rest of the film, save for the fact that its rapid - fire pacing keeps the film moving.

Gitt structures the sequences in narrative order rather than shooting chronology and puts the takes in context of the surrounding scenes, the better for us to place the scenes and see the shaping of the performances.

That goes not only for its approach to characterization, but just about every narrative aspect of the work — from the way Baker develops his larger plot to how he sequences his shots, carefully upholding its characters» sharply divisive existence.

Dioramas inside that museum play a key narrative role, as does the Queens Museum's Panorama of the City of New York — a miniature model of the city built for the 1964 World's Fair that becomes the centerpiece of a stunning, handcrafted sequence.

It locks the player out of map areas and game techniques for several hours until the tutorial sequences are complete, restricting returning players and forcing them to invest time in unlocking these mechanics all over again, without the incentive of early, substantial narrative to keep them engaged.

But instead of playing with her duality, she seems plopped into this narrative purely for a requisite lovemaking sequence.

The larger scope of the sequel allows for Gareth Evans to flesh out the narrative, but too many chatty gangsters almost cripple the momentum between incredible action sequences that certify Evans» ascension to a supreme action cinema maestro.

For every stunning sequence in The Jungle Book, there are moments of overemphasis from the cutesy kid actor or times when the movie sacrifices narrative closure for sequel - baitiFor every stunning sequence in The Jungle Book, there are moments of overemphasis from the cutesy kid actor or times when the movie sacrifices narrative closure for sequel - baitifor sequel - baiting.

They were scored for the number of total words they used, the number of distinct words used, and two indicators of narrative quality: story structure score (inclusion of appropriate story elements and sequence) and language score (clarity and complexity of grammatical features in the story).

It covers the following lesson objectives: • form capital letters • use a capital letter for names of people, places,... • become very familiar with... traditional tales, retelling them and considering their particular characteristics • participate in discussions,... role play,... • make inferences on the basis of what is being said and done • sequencing sentences to form short narratives

This narrative nonfiction story sequences the steps an illustrator follows when creating pictures for a story.

The story itself is utterly absorbing and enough of a reason to read the book, but as a bonus Panowich's writing is also exceptional, particularly for a genre in which action sequences typically take precedence over quality narrative.

It also caters the narrative information presented in a sequence to make it easier for a reader to understand.

Briggs» wordless classic, also adapted into an animated film, uses standard sequential art panels and provides an excellent platform for reinforcing sequence and comprehending narrative.

Peter Hogan's comic for Electricomics, Cafe Amygdala, which involves heavy reader interaction for choosing the narrative's direction, will not even be presented in a «sequence», Leah Moore said.

The sequel does a much better job of bringing the player in, with an introductory sequence and first act that serve as a perfect microcosm of what the game has to offer, and sets up the world and foundation for the narrative.

It locks the player out of map areas and game techniques for several hours until the tutorial sequences are complete, restricting returning players and forcing them to invest time in unlocking these mechanics all over again, without the incentive of early, substantial narrative to keep them engaged.

Their title Heavy Rain won critical acclaim for its story - telling and their use of quick time events in action sequences was enough to keep the game fun and also accessible to inexperienced gamers drawn in by the narrative.

• Seamless narrative experience — Full performance capture for characters and scenes, combined with seamless transitions between action and story sequences, work together to bring the rich narrative, rife with conspiracy and intrigue, to life

These formally aestheticized marks are sequences in a non-linear narrative which speak more to the viewer's desire for a solution than any actual message hidden in their depths.

Amboy interlaces passages of genuine documentary (for instance, segments feature Lydia van Vogt, widow of the celebrated sci - fi writer A.E. van Vogt) with carefully scripted and acted sequences that serve the loose narrative arc of the film.

On one wall are two very different examples of the work of Duane Michals, who made a name for himself with staged narrative images, some shown in sequence, often with handwritten texts directly on the margins of the prints.