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