Sentences with phrase «forcing viewers»

And by forcing viewers to watch from a dark cubbyhole, she draws us visually and physically into his world.

It seems that no matter which way you turn, there is a sculpture begging to be touched or teased, forcing viewers to act or interact in its path at Frieze.

Turrell believes in slowing down the viewing process, forcing viewers to notice and appreciate incremental change.

His accumulations of untransformed materials are organized horizontally, forcing the viewers to look down, not straight ahead or even up, as colossal public sculpture forces them to do.

The artist filmed himself poking his face and then slowed the footage down, forcing viewers to pay attention to the formal qualities of each frame.

Created in an era when TV ads were largely oriented towards housewives, the installation uses the language of implicit and explicit exploitation as a means for forcing its viewers to confront the confining grasp of the heteronormative American Dream, a Dream powered and defined by an industry of commodification and consumption (whether of Arm & Hammer baking powder or the naked female body).

By forcing viewers to confront our futile desire for perfection, she unreservedly presents a naked reality that most of us would prefer to avoid.

In doing so, these images become abstract forms floating in space, forcing viewers to reorient their preconceived notions of symbols and their meanings.

Tuttle also manipulates the space in which his objects exist, forcing viewers to reconsider and renegotiate the white - cube gallery space in relation to their own bodies.

Additionally, Einarsson's intention is always to complexify the meaning of his practice by repeatedly forcing viewers to read individual pieces against seemingly contradictory works.

The idea of the readymade was very influential to later artists like Andy Warhol, who handmade perfect copies of commercial packaging like boxes of Brillo pads, forcing viewers to consider what art could be and raising questions about the divide between art and life.

Constructed with hand - upholstered cushions in luxurious fabrics, referencing 19th century aesthetic style and craftsmanship of decorative objects the installation fills the gallery space forcing viewers to explore and touch their crowded expanses and cavernous corners, creating a small maze not unlike the Essex Street market itself.

Inspired partly by the French critical theorist Roland Barthes, who viewed mass cultural images as signs freighted with latent meaning to be deciphered, she first gained attention for a series of artworks starkly displaying newspaper snippets (headlines, photographs), forcing viewers to examine the way they responded to media's authoritative voice.

The 15 video works were installed at varying heights in the gallery, forcing viewers into a series of contorted positions in order to view images from the insecure outskirts of the city: dangling off the edges of piers and bay areas, across rattling bridges between Queens and Manhattan, and abandoned psychiatric hospitals on Long Island.

Creating a second skin that conceals race, gender, and class, soundsuits camouflage the body, forcing viewers to look without bias or judgment.

No artist today does a better job of forcing the viewers to deal with stereotypes, gender, and race.»

As gripping as Drew's large - scale works are, they can be enigmatic to the point of hermetic, forcing some viewers to question the validity of its artistry.

Tuttle also manipulates the space in which his objects exist, placing them unnaturally high or oddly low on a wall — forcing viewers to reconsider and renegotiate the white - cube gallery space in relation to their own bodies.

He's uninterested in forcing viewers to engage with hot topics or historicity; if an exhibition is a circus, he refuses to balance on the tightrope.

These artists make reference to particular places or timeframes that are brought forward (or backward) to the present day, forcing viewers to question traditional notions of time as it exists in a rigid, linear sequence.

The objects become remnants of their former selves, forcing their viewers to conjure up new interpretations.

By forcing viewers to unscramble the high - density plot, Conner collapses the personal with the public and bends cinematic time into the time - made - strange of traumatic memory.

that there is always more to the story, and I think it was a deliberate way of forcing the viewers to meet the story befor they judge the act.

Eschewing any simple biographical detail, elements come up through conversation and her introspection, forcing viewers unfamiliar with her journey to piece together the various bumps and successes along the road.

Merciless but not cruel, Haneke steers the couple toward the inevitable with unforgiving clarity, eventually forcing viewers to confront what love means in the final stretch.

His films are never narrated, thereby forcing viewers to make connections between the sequences themselves.

The film succeeds at not just creating empathy for these kids, but also forcing viewers to ask hard questions about the unseen world around them.

The movie is funny, but it also forces the viewer to think about their own lives and personal choices while learning that every life represents a story worth telling.

To me, Kratsman's photographs work in the same way: they force the viewer to think about what has been displaced and where the actual boundaries of political life lie.

In movie theatres, the eyes need to focus on the screen itself to see objects in focus, but the 3D effects can force the viewer to try to focus several metres in front of or behind the screen instead.

Blind Dating also manages to be an incredibly muddled 95 minutes in which emotions are replaced by aggressive music cues to force the viewer to care for characters that are paper thin at best.

The outstanding script by screenwriter Andrew Kevin Walker is skillfully conceived, makeup artist Rob Bottin» special effects are effectively scary, Fincher's direction is maddeningly tense and taut, and the noirish and darkly graphic cinematography by Darius Khondji forces the viewer to see the crime scene in the horrible way it looks.

This nadir of equal - opportunity raunch forces viewers to spend time with a needy yeast - infested adult who doesn't know how to go on a date with a man; her grating, neurotic monster of a best friend; and a third, random younger chick, who's crazy - upset about some tedious thing that happened with her boyfriend.

Though the movie could have easily crossed the line into purely mocking its subjects, Franco and company maintain an underlying empathy for the film's characters, offering key breaks from the comedy that force viewers to question what they've been chuckling at all along, allowing the film and Wiseau himself to ultimately channel sarcastic laughter into genuine love.

I loved how there's a lack of subtitles and how much of the film in general is told visually, forcing the viewer to focus on facial expressions and body language to pick up on what's going on.

This is innocuous, heart - in - the - right - place family fare, but its well - earned points about animal rights and preservation would be better taken if the relentless sentimentality didn't force viewers into flippers - in - the - air submission.

Scorsese prefers to keep things on a darker level — which adds mystery and mystique and forces the viewer to pay closer attention to the on screen action.

Zemeckis forces the viewer's perspective to look down, up, sideways and around with vertiginous verisimilitude.

By creating this one unforgettable image Spielberg forces the viewer to identify with the horrific plight of the individual in the same way that Schindler does as he gazes down upon the carnage from a similarly remote and elevated position of safety.

Lanthimos» films don't hand deliver answers, instead forcing the viewer to figure it out along the way all the while asking themselves the very same questions playing out on screen.

«The film forces the viewer to ask why others didn't try to do what Oskar Schindler managed,» the daily Frankfurter Allgemeine Zeitung observed in a front - page editorial.

There's little doubt, as well, that Shyamalan's expected emphasis on stylish visuals plays an integral role in confirming the film's mild success, while the story's coda is nothing short of jaw - dropping in its unexpectedness and audacity (ie it forces the viewer to rethink and recontextualize everything they've just seen)- which ultimately ensures that Split continues the momentum established by Shyamalan's comeback endeavor, 2015's The Visit.

Through Solomon, then, McQueen forces the viewer to behold the slaves» degradation, anguish, and physical suffering, just as he did with the Maze Prison's miasmic squalor in Hunger and the pathological self - loathing of sex addiction in Shame, each film a prolonged howl of despair prompted by the horror of literal or spiritual imprisonment.

But it doesn't present all of them at once, forcing the viewer try to catch up with those crafty Logans as things go along.

The film is full of truth and, much as one would wish to do otherwise, Loach forces the viewer to acknowledge it.

This technique does force the viewer into accepting this style for the sake of the entertainment value of the story to properly appreciate it.

While I have difficulty recommending it for casual viewing, it is a film that forces the viewer to mull over the situations and interactions that arise within its 97 minutes.

Their decision to partake in the game just doesn't really make sense, and unfortunately it's just the first of several unresolved plot holes and leaps of logic that Truth or Dare forces the viewer to swallow.

Eerily shot by cinematographer Drew Daniels, intricately edited by Shults and Matthew Hannam (Swiss Army Man), an all - encompassing sense of doom and gloom permeates things down to the marrow, the cold - blooded nature of it all forcing the viewer to keep watching no matter how much they might find themselves wanting to look elsewhere.

The entire package — and the studio — loses points, however, for forcing the viewer to watch a trailer for The Scorpion King before the feature when the «Play Movie» option is selected.