Sentences with phrase «frame your story as»

But Hooper and writer Lucinda Dixon take a deeply conventional approach by framing their story as a portrait of a loving marriage with an almost incidental awkward flaw.

As he did in the play, Nyman (recently seen as the guy whose phone Liam Neeson keeps borrowing in The Commuter) anchors the framing story as Professor Goodman, host of a minor reality TV show called Psychic Cheats.

Two, the statement frames the story as a deception in which Facebook was not the bad actor but the victim.

Not exact matches

On Thursday, Buzzfeed and Wired published in - depth stories explaining where Free Basics — framed by Facebook as a philanthropic venture — came from, and why Zuckerberg is hell bent on seeing it through.

«Shakespeare this ain't, and Gears 3 struggles at times with its forced attempts at heart - string pluckery, but I can forgive it as much; gore - starved guns adorned with toothy chainsaws easily atone for any cheesiness suffered along the way... the Gears 3 story continues with what amounts to a blood - drenched tale of woe, suffering, loss and absolution, cathartica that stands out in harsh relief when framed by the»80s era Schwarzenegger - ness of most of the dialogue.

Tolkien says it best: «It is the mark of a good fairy - story, of the higher or more complete kind, that however wild its events, however fantastic or terrible the adventures, it can give to child or man that hears it, when the «turn» comes, a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears, as keen as that given by any form of literary art... In such stories, when the sudden «turn» comes we get a piercing glimpse of joy, and heart's desire, that for a moment passes outside the frame, rends indeed the very web of story, and lets a gleam come through.»

The press frames every story about Francis as a break with the rigidity, dogmatism etc, of his predecessors — Benedict's back in the doghouse, so to speak — and the latest example of a new, caring, open, pastoral (read: lenient) Catholicism.

What this amounts to from a literary perspective is seeing the story as merely a frame and the characters as useful mediums for dramatizing the ideology.

Then, in that tension, the plot thickens, and world view as story is related, binding even in the light of its contradiction the self to the Other, the finite frame to the world's outcome.

As mediated by the journalists, the story of the Second Vatican Council was framed as a battle between traditionalists centered in the Roman Curia, the Vatican's bureaucracy, and a core of progressive bishops, mostly from northern EuropAs mediated by the journalists, the story of the Second Vatican Council was framed as a battle between traditionalists centered in the Roman Curia, the Vatican's bureaucracy, and a core of progressive bishops, mostly from northern Europas a battle between traditionalists centered in the Roman Curia, the Vatican's bureaucracy, and a core of progressive bishops, mostly from northern Europe.

Then there's something commonly known as the «Proclamation on the Family,» which is often framed and displayed in homes — though rarely in upper - class households, said Joanna Brooks, author of «The Book of Mormon Girl: Stories from an American Faith.»

The frame of reference in the gospel stories quickly expands, as does the Old Testament, which chronicles the history of a nation that is sometimes swallowed by world - straddling empires.

Story says, «The letter urges followers to frame this as a debate about religious freedom, not contraception, because it's a more effective way to sway public opinion.»

The theme of glory frames the miracle story, as Jesus will later say to Martha: «Did not I tell you that if you would believe you would see the glory of God?»

Where Maunsel White participated in the celebrations as a city official, it is not difficult to imagine, and certainly fits logically within the time frame that Maunsel White sauce was first concocted (which is dated by two different accounts to have been either 1849 or 1850) that the alleged traveler from Central America story perpetuated in McIlhenny family lore was actually a soldier returning through the port of New Orleans from the Mexican - American war to a festive reception in June of 1847, being honored and greeted by a prominent former military officer who was also a city commissioner.

Where an otherwise irrelevant character makes for good debate, so the news entertainment industry frames his every move as significant, and soon this irrelevant character has been news for long enough that eventually he does do something noteworthy, and he becomes the biggest story in America.

Create a digital scrapbook as you add your own text to photos or use stickers, frames, filters and other editing tools to tell your pregnancy's story.

- Beyond downplaying the case, the October 2016 story's headline and overall framing, as I wrote in early 2017, «led to perceptions that the Republican nominee was in the clear» - in other words, case closed.

The story of wildlife conservation is usually framed as man vs. treasured wildlife.

Climate change stories that are framed as «Disaster» (like floods) are more likely to make it onto TV news.

The story misses this important development, that long before finding the first feathered dinosaur in the mid 1990s, the vast majority of paleontologists and an increasing number of young ornithologists realized and had accepted the mountain of osteological evidence, which Ostrom had pioneered, that frames birds as dinosaur descendants.

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As you're reading this, we're on our way to Boston to film two projects and to shoot a photo story for The Frame.

Today, the 42 - year - old sits at a single desk, framed by a high shelf lined with photographs, print campaigns and other ephemera that document the story of Rag & Bone, a brand as deeply rooted in Wainwright's upper class British background as his life in New York and his personal connection to America's shrinking manufacturing base.

Framed by Hugo's tried - and - true story, given heart by Boublil and Schonberg's beautiful lyrics and melodies reinterpreted by Hooper's burgeoning directorial flourish, Les Misérables now has a welcoming new home on the big screen — and likely a new audience as well.

Freeman (director Jackson's first choice for the title role) is inspired casting as Bilbo Baggins, and makes for a more likeable protagonist than Wood's rather other - worldly Frodo (who, along with Holm as the older Bilbo, makes an appearance in the film's opening framing story).

There can be frequent load times and frame rate drops, but they don't really matter as it never gets in the way of the fun and exciting story.

Yet even as she and the filmmakers — Mr. Lelio shares script credit with Rebecca Lenkiewicz — thicken the texture, adding realistic details that should energize the scenes, the movie insistently puts a secular frame around its story, leaving little room for the metaphysical.

Mr. Corbijn picturesquely frames the back story to the shoot, but his muffled retelling drifts with Dane DeHaan's murmurous impersonation of Dean and Robert Pattinson's almost perversely listless turn as Stock.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

The story follows acclaimed (though floundering) animation star Roger Rabbit (Charles Fleischer) as he sets out to clear his name after he was framed for the death of Mr. Acme.

Rumble: The Indians Who Rocked the World, directed by Catherine Bainbridge and Alfonso Maiorana, tackles a long, illustrious, and sorely undertold story, and as such offers some much - needed shading to a history that's still too often framed in stark polarities of black and white.

At the film festival: Bruce LaBruce's subversive masterpiece, Gerontophilia, a lovely rom - com in which everybody fucks one another across all age and gender borders — desire shall bind us together; Juno Mak's Rigor Mortis, a touching albeit grim look at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gframes the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile GFrames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerima.

The film takes place primarily in 1932, but the main story is framed — as if inside a Russian nesting doll — within three later time periods: the present (or something later than 1985), 1985, and 1968.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Scheherazade, as in the folk tales, is both character and framing device, doomed to tell stories for a thousand and one nights in order to postpone her execution at the hands of her husband the king.

The appeal of the film is manifold - its serenity as The American meticulously goes about his craft; the paucity of dialogue that heightens its few action sequences when they do occur; a superb ensemble of actors led by Clooney that also includes Violante Placido (Clara), Thekla Reuten (assassin), Johan Leysen (controller), and Paolo Bonacelli (as a local town priest); the artistic framing of the film by director Anton Corbijn both in its interiors and the long shots of the Italian settings; and simply the story's uncertainty that grips one from its very beginning.

The effective introduction of colour into a monochrome world was done by shooting in colour originally, scanning the film digitally at 2K, and then removing colour frame by frame as needing by the progression of the story.

It's more technical than you might expect, as such movies cited as inspiration include Crimson Tide and Se7en (lighting), The Life Aquatic with Steve Zissou (symmetrical framing), and Scrooged and Groundhog Day (story).

Disneyfied, tries to frame P.T. Barnum's circus freakshow as being an inspirational story by attempting to brush every character flaw of Barnum's under the table while showing them off in plain sight and just ignoring them as some sort of

The story, such as it is, frames itself around a young man's quest to deliver one of van Gogh's final letters to the painter's brother in Paris during the summer of 1891.

Instead, Miles Ahead uses a framing device that presents its story as if it's a piece of music that Miles is playing for Rolling Stone reporter Dave Brill (Ewan McGregor).

It's an imaginative story about a hotel concierge who inherits a fortune and then gets framed for murder, which sends the story into — as we have come to expect from this filmmaker — unexpected directions.

Structure-wise, Leitch uses a debriefing between Lorraine and her senior Eric Gray (Toby Jones)-- together with extraneous Chief C (James Faulkner) and CIA representative Emmett Kurzfeld (John Goodman)-- as the framing device to tell the story in flashbacks.

Using the character's written confession (in a location far from his beloved farm) as a framing device robs the story of any real suspense and, worse, fails to enrich the events on screen with emotional or moral substance.

The dark tone was set in part through the use of flashbacks to a 1995 serial killer investigation framed in the context of interviews with the two primary detectives, with McConaughey's intense Rust Cohle looking and acting like a burned out alcoholic as he told his part of the story.

John Ridley is directing the film now, with Andre Benjamin as Hendrix, and Hayley Atwell as Linda Keith, who during the story's time frame was dating Richards.

As long as you know that you're going to see plot elements, story backgrounds, and characters similar to other, better films, you will be in the right frame of mind to enjoy Doom strictly as b - movie entertainment and nothing morAs long as you know that you're going to see plot elements, story backgrounds, and characters similar to other, better films, you will be in the right frame of mind to enjoy Doom strictly as b - movie entertainment and nothing moras you know that you're going to see plot elements, story backgrounds, and characters similar to other, better films, you will be in the right frame of mind to enjoy Doom strictly as b - movie entertainment and nothing moras b - movie entertainment and nothing more.

Framing the film in its 1.85:1 widescreen theatrical aspect ratio (as opposed to the DVD's 1.33:1 open matte), New York Stories» picture is extremely sharp, clean, and detailed.

The picture has a framing story and a movie - long narration, two more ingredients in the neo - noir / American Gothic stew that Eastwood has continued to perpetuate long after his twin Americana triumphs A Perfect World and Unforgiven rendered the conversation — at least inasmuch as Eastwood is capable of carrying it — moot.