Sentences with phrase «for viewers of the work»

Maria's desire to stop time for viewers of work allows them to bask in the eternity as well as celebrate the present moment.

The ideologies of artistic practice may motivate painters and fix their positions in the discourse of art history, but for viewers of the work itself, the painting exists as image and / or object - an image -LSB-...]

The ideologies of artistic practice may motivate painters and fix their positions in the discourse of art history, but for viewers of the work itself, the painting exists as image and / or object - an image or object whose relationship to the quotidian world of perception is ambiguous and multivalent.

Not exact matches

Televangelists used money sent by listeners and viewers (much of it pledged for mission work overseas) to buy up hundreds of radio and TV station licenses, and to create satellite - fed networks.

In addition to the outlets that are paid to cover the spectacle the day of, popular influencers, photographers and editorial brands flood millions of feeds by showcasing models at fittings, working out and otherwise preparing to walk for millions of viewers weeks prior to the show.

John gave the viewers some insight on what it's like to watch Jim work and how cool of an experience it is for him.

I mean, yeah, a dead baby would be like 1000x more offensive and emotionally difficult for viewers, but the metaphor holds better, and if you want to guilt us dirty bottle feeders into making our boobs work or forgoing our mental health meds or suffering through rape flashbacks or never - ending mastitis or simply not enjoying how we feed our babies, then a picture of a dead baby will be much more effective.

Viewers picked holes pretty quickly in Clegg's «Lib Dems for coalition» pitch to conference, pointing out that his condemnation of single - party rule therefore undermines any argument that Lib Dem majority (or minority) government rule would be preferable, thus making his much - applauded line «In an ideal world, I wouldn't have to work with either of them because I'd be Prime Minister on my own thank you very much — and I'd like to think I'd do a better job too» fall rather flat.

She was working on a great series of segments about dating services for Valentine's Day, and she approached me to see if I would be willing to take one of their viewers through our Profile Creation + Consultation Package.

As the matchmaker, Ray is most excited for viewers to see what it takes to find a match so they can appreciate the process of working with a matchmaker.

Vice President of casual sex personals for sale, personals, services, local girls Escorts is one website, before the best dating apps for classified advertisements range of 4 viewers look How Dating site is Working as well rewarded asiancall the daily classifieds (I don't forget your new food, alcohol consumption, With current location.

Sharp - eyed viewers should watch for parodies of and winking nods to earlier Aardman works, as well as «The Lion King,» «Lady and the Tramp» and other animated classics.

It offers a CliffsNotes encapsulation of Edgar Allen Poe's most enduring works for viewers unacquainted with them.

Viewers may relate to the feeling of being trapped during this strained and tedious throwback, which the writer - director Mickey Keating has framed as a hat tip to the 1970s work of Sam Peckinpah and Peter Watkins, but which lands well south of John Waters in its try - anything - for - a-reaction pretensions.

It's fairly tedious stuff that's compounded by a lack of narrative momentum and an almost aggressively deliberate pace, with, in terms of the latter, the movie's slowness ultimately preventing the viewer from working up any interest in (or enthusiasm for) the protagonist's feel - good antics.

Its unprecedented approach to the controversial subject matter at its core works splendidly, effectively churning viewers in their seats for the entire duration of the film.

It's clear immediately that Foley has his work cut out for him in terms of capturing the viewer's interest, as Perfect Stranger suffers from a disastrously unconvincing opening half hour that's reflected in everything from the forced - sounding dialogue to the over-the-top performances to the laughable portrayal of Rowena's online chat sessions.

For those who have enjoyed his work in the past and those who like to be a little adventurous when it comes to their moviegoing, this is the kind of audacious filmmaking that deserves to be recognized and which will no doubt inspire any number of impassioned discussions among its viewers while having dinner afterwards.

well, I would like to make a comment, with of course no harsh bashing or one sided opinionated blather, However, I find it quite simply funny how one could watch a movie and with a couple of sentences and elegant word - ology, thing they can grasp what it takes to compose a work of art and creativity into a 250 page manuscript and then production material for viewers such as myself and yours truly.

Although different viewers will have different rankings for the various segments, it seems impossible that «On Work,» the visually extraordinary segment by clay - painter Joan Gratz will not rank towards the top of them in the way that it combines Gibran's powerful words with equally stunning imagery.

The abundant tropes remind the viewer of those featured in vehicles favored by the likes of Steve McQueen, Charles Bronson, and James Coburn, men's men who made movies for men that weren't even likely to interest boys with a taste for action, as the work of the next generation of action stars (Stallone, Schwarzenegger, and Norris» other slightly younger Expendables cast mates) would.

A few months ago, we reported that a movie Steven Soderbergh had been working on for HBO had somehow transformed into a miniseries called Mosaic that was actually more of an app, and it was all based around viewers / users choosing how and when they experience the events of the story (which concerns a murder but isn't...

If your work entails programming or anything related to the nuts and bolts of digital technology, you're unlikely to encounter anything in this brisk feature that you haven't contemplated at length; but if you spend a good portion of your waking life online, as increasing numbers of viewers do, but take it for granted, you may appreciate the way Herzog comes into the the subject: from a borderline - layman's perspective, wry and curious.

Jarecki's inability to transform the two central characters into figures worth rooting for and caring about proves disastrous, and there's consequently never a point at which the viewer is able to work up even an ounce of interest in their ongoing exploits.

Viewers would be forgiven for their hesitance to see another movie from the directors of the «Vacation» reboot, but John Francis Daley and Jonathan Goldstein, working from a pitch - perfect screenplay by Mark Perez («Accepted»), have crafted an ensemble comedy that lives up to its high - concept premise while giving a gang of talented actors — including the gifted Jason Bateman, so rarely employed to great effect on the big screen — fun characters and big, outrageous moments.

There is, as such, little doubt that one's interest in V.I. Warshawski is almost entirely dependent on one's tolerance for Turner's work, as the film is otherwise devoid of elements designed to capture and sustain the viewer's ongoing attention.

It's certainly not difficult to see why All Good Things has been languishing on the shelf for a couple of years, as the movie primarily comes off as a tedious, thoroughly pointless piece of work that boasts few attributes designed to capture the viewer's interest.

«Full of charm and wit, with a little mystery thrown in for good measure, APPLESAUCE is a rare and very original take on the relationship drama and mystery genres, excelling quite well in both... It's a film that keeps its viewer wondering what will happen next, from the very opening of the film, to the moment the credits roll, and is by far Tukel's best work yet.»

Fans of the Richler work and of Paul Giamatti, who would go on to garner a Golden Globe for his fine performance, in general should find more to love than the common viewer, as the character of Barney himself is flawed and not particularly fun to watch as he goes through bouts of alcoholism, depression, philandering and narcissism that has you questioning just how such lovely women could ever fall for him.

Focusing on an earlier president, the HBO take on John Adams was a remarkable work that benefited greatly because of its scope as an episodic mini-series - this allowed for moments of contemplation, for legislative flourish, and for detailed negotiations to unfold over time, making their success all the more cathartic for the viewer.

For over 25 years, the remarkable body of work of recipients speaks directly to a generation of MTV viewers.

Even if Certified Copy proves too much work for many viewers to puzzle over, at least the power of Binoche's performance cuts through rational thought and plunges straight to the heart.

For Nugent, the work was to keep the momentum of the propulsive first act going, and to keep viewers from experiencing too much «visual lethargy» during the film's first half, which all takes place within the 10 - by -10-foot shed.

Given the plot, it's odd that Truffaut's Jules and Jim is never alluded to in any way, and the references to other movies that are included usually work better for the Cincinnati crowd (with its narrower choices) than for Parisians or Chicagoans (except for the one most American viewers are likely to find inexplicable — clips from the end of Robert Bresson's Mouchette to contextualize a suicide attempt, which I found offensive).

He also discusses the movies that inspired his casting, the exemplary work of Kevin Hart's stunt double, and the fact that many viewers mistake Bruce McGill's character for being a villain.

The encouragement also works for prospective viewers of Julia Ducournau's debut feature.

Scorsese, working from Robert Getchell's script, kicks Alice Doesn't Live Here Anymore off with a bizarre yet attention - grabbing Wizard of Oz - inspired opening sequence, with the entertainingly bonkers nature of this sequence hardly preparing the viewer for the dull, frequently interminable drama that follows.

Jordan Peele's «Get Out» is, again, a work of savvy craft that pulls an unsuspecting (white) viewer into a Sunken Place that other moviegoers know all too well; the movie works as a horror film, as a goof on horror films, as a working street - map of African - American anxieties, and, for a white liberal audience, as an endlessly reflective hall of mirrors that urges a hard, necessary look at oneself.

The ability to shock on various levels, is an obviously powerful tool, and if a filmmaker could somehow consistently find his or her way to that magic point for a mass of viewers, the work would approach a particularly dangerous and effective space.

It's a shame, really, given the potential here for a fun horror - movie ride, with Johnson's ongoing difficulties in sustaining viewer's interest ultimately ensuring that The Wolfman comes off as a sporadically intriguing but mostly underwhelming piece of work.

Seeing the Dora Milaje working together at the film's center — and knowing this is only the beginning of their story — has proven a thrill for many viewers.

It's a deeply ambivalent movie — or maybe a dishonest one — which makes fun of the provincial, barely - working - class America in which Harding grew up — and then condemns you, the viewer, for having laughed.

Viewers can test their own powers of deduction and go behind the scenes of the movie with a nice variety of bonus features that include a solid making - of featurette that also roots the material in the real - life history of Scotland Yard, a sing - along version «The World's Greatest Criminal Mind,» and an animated look at the history of detective work, complete with a crime - solving puzzle for the entire family.

Working from a sensational, intimately layered script written by Simon Beaufoy (Slumdog Millionaire, The Full Monty) and directed with dexterous skill by Little Miss Sunshine impresarios Jonathan Dayton and Valerie Faris, this empowering, exuberantly enthusiastic motion picture creates such a palpable sense of joy in the viewer it gives one hope things really will turn for the better sooner rather than later.

An impressionistic barrage of sexually frustrated prisoners grasping for each other and at themselves, their musculature bathed in chiaroscuro light as they lovingly move their hands down their bodies while they're watched by drooling, baton - wielding guards, Un chant d'amour is an all - consuming work of art that aims to liberate the viewer through erotic fantasy.

Even if Genet's film works best for committed admirers of the male armpit, it's impossible for a viewer of any persuasion not to grasp the film's irrepressible, undulating waves of longing.

In an Instagram post praising the work of Oscar Isaac in Ex Machina, Rodriguez placed part of the blame for the lack of Latinos in Hollywood on Latino viewers themselves.

Breaking out of the stylistic confines of his last couple of films, Scorsese hit the ground running with a go - for - broke epic that ran for three breathlessly - paced hours, was horrifying and hilarious in equal measure (an extended sequence involving some old quaaludes, luncheon meat, a looming legal catastrophe and an old «Popeye» cartoon was a set - piece for the ages), was jam - packed with great performances across the board and which offered viewers the pleasure of seeing a top director working at the peak of his powers.

From a technical standpoint, the film was one for the ages (this was one of those increasingly rare movies that cried out to be seen on the biggest screen possible and was even one of the few to make intelligent use of 3D technology) but what was even more surprising was how effective it was from a dramatic standpoint as well, thanks in no small part to the career - best work from Bullock and the deft use of Clooney's glib star quality to help orient viewers for what might have otherwise been an off - putting experience).

The happiest viewers will be those who came for the former, as opposed to those interested in experiencing the works of the latter.