Sentences with phrase «human stories rather»

So the way to engage them is to come up with human stories rather than ones about motorway planning.

Not exact matches

Rather, the setting of my story and the congregation's portrays my own body and that of the local church essentially in human terms, but my factual portrait of the world is darkly shaded by the tragic inevitability of God's inexorable plan.

Her saving grace there, as in Out of the Deep I Cry, is her ability to create a story both intensely human and delightfully unpredictable, with events flowing naturally from collisions of character rather than the exigencies of plot.

As the author notes in the beginning, this volume is not intended as a homily, but rather as a companion; and like a trusted companion, it does not simply conduct a one - sided soliloquy over history and texts, but behaves dynamically: telling stories, empathizing with human frailty, and anticipating questions.

The stories we tell, rather than the direct threats and gratifications of the moment animate the human imagination and define for us what exists, what is important, what is right, and what is related to what.

Rather, it is in the very manner in which he develops and emphasizes the distinctiveness of the Christian story — focusing on its own internal criteria for truth without reference to publicly accessible criteria of common human experience and rational inquiry — and the relation between the church and the world.

Stories help us identify one another as fellow human beings with whom we can laugh and weep and pray, rather than issues over which we must fight.

But I do know this: Whenever I enter into discourse or debate or conversation, and I see the person as fundamentalist or Republican or homophobic or antagonist or (fill in the blank) rather than a human being with stories and ideas and passions, I almost always fail at being a promoter of unity.»

It consists in the fact that what we have here is not consecutive narrative, but simply individual stories — and these are told in the manner of the people — pious people, who marvel at God's doings rather than ponder over questions of purely human detail (§ 3).

So rather than thinking of competing and separate civilizations, we should think in terms of only one human civilization (one human story), comprised of multiple geo - cultural domains that contain sub-cultures, much like an ocean into which many rivers flow.

Therefore, rather than thinking in terms of multiple and competing civilizations, we need to think in terms of one fluid human story, comprised of multiple geo - cultural domains that contain cultures and sub-cultures.

It's not that the climax is over the top hokum, but rather that it deals with human reactions that play false given the realism (an interesting term considering that this is a ghost story) that has gone on before.

Rather than the typical inciting incident of a film's typical narrative structure, Yang's screenplay builds its story organically, painting a portrait of flawed, tender humans.

The premise is surprisingly human; rather than using the ghost - story which accompanies the apartment that the protagonist (Jennifer Connelly) and her daughter (Ariel Gage) move into as its main focus, the film concentrates more on a custody battle between she and her ex-husband (Dougray Scott).

The two leads are unappealing, the story is dragged on for days and the rather random magical element renders any human factor irrelevant..

Though its plodding pace brings it down in some parts, it is a well crafted story that gives a Human dimension to the defenders of the Alamo, portraying them as people, rather than the larger than life legends that have since permeated history.

CBS Films revived the project in 2012, with Robert Cargill and Scott Derrickson writing the screenplay, but the story is based on «Human Revolution,» a prequel game set in 2027, rather than the original game's story.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

The look and feel of the film are sterile, with another thriller that seems to lack personality and the human element, merely pushing forward the incessant need to play the audience, rather than to tell a story.

The characters in this film are compelling and entertaining and because of them and the choice to use the shrinking aspect of the story as a jumpboard rather than an isolated boat with nowhere to go, this allows a very human story to shine through an unrealistic story mechanism.

Age Of Ultron follows the rather hackneyed formula of «A.I. tasked with the defence of the human race decides the best course of action is to exterminate it» of The Terminator and, well, nearly every other si - fi story written since Isaac Asimov took up his pen.

In spite of its fanciful editing and Jonny Greenwood's sleazy score, You Were Never Really Here is rather minimalist, offering slivers of story and characterization, dwelling on inanimate objects while eschewing human complexities, never pondering the moral quandaries of Joe's vocation or methods.

It's a shame the story and the human characters are rather dull and boring compared to how pretty the movie looked.

Shyamalan's films have transcended genre constraints, as the director has made use of intelligent stories and compelling human characters rather than gore.

I love that the story focuses on the advancement of the creature and is treated by Eliza as a human rather than a monster.

It does a bit when human characters are involved, but it's rare, as the story would rather find them engaged in an adventure in the streets and sewers of the city.

With the «brilliant» idea to give people what they want rather than what they need, he introduces fluff human interest stories, sensationalistic true crime obsession, and empty cute animal segments to television news.

Even though one responds at times to the sentiments being expressed in the story, one has to refer to Chase himself rather than the ill - defined character he's playing to find their human dimension.

Rather than idle away precious hours on trivial stories or randomly chosen nonfiction, reading, writing, and listening instruction would be built into the study of ancient civilizations in first grade, for example, Greek mythology in second, or the human body in third.

Lately, she said, she's seen far too many «fairies and vampires» rather than living, emotional (human) characters with real stories to tell.

Rather than trying to remove human interaction, they believe in a high level of service, where employees are encouraged to have conversations with shoppers, answer questions and be available to tell a product's story upon request.

A quote from Jonathan Beales I found rather spot on was when he said, «All though his documentary was centered around the video games, the story is always about the human input» to go one with another quote from him «The rich experiences of making games, playing them or even going to game launches will always remain the center stage».

Detroit: Become Human could finally be what fans have been waiting for: an intense, story - driven experience where your decisions matter and your success is determined by your choices rather than your twitch reflex.

In showing understanding without praise, the game's story manages to walk a thin line between having the player act as part of what is arguably a local insurgent group and siding with said groups, the end goal of which is a more considered viewpoint which treats enemy combatants as human beings rather than koopa troopas.

I had some issues with the story like the focus on human interactions rather than Digimon ones and Arata being too much of a twat, but other than that I was very happy with the game.

It has been shown that humans can benefit from what psychologist Shelley Taylor calls «benign fictions», unrealistic stories about ourselves and the world that lead us to predict what we would prefer to see, rather than what is objectively most likely to happen.

A fifth is that we human beings rather like scary stories, catastrophe films and horror stuff; we may not believe it, but we get some kind of kick from it.

Instead of focusing on the bears, she talks to people on the frontlines of climate change, aiming to make climate change a story about humans rather than nature.

You could even train the bot with story after story after story so that it would be able to start writing its own brief recaps of the latest (completely legitimate) outrage rather than needing humans to step in and tackle a story that has become all too familiar and all too frequent.

Detroit: Become Human could finally be what fans have been waiting for: an intense, story - driven experience where your decisions matter and your success is determined by your choices rather than your twitch reflex.

The sources are referring to a controversy that started in May, when Gizmodo published a story in which former Facebook workers revealed that the trending news team was run by human «curators» and guided by their editorial judgments, rather than populated by an algorithm, as the company had earlier claimed.

That way we do not struggle with them and rather recognize that your thoughts, your emotions, and your stories have evolved in us as human beings to help us to feel protected, to help us to survive, and to help us to communicate with ourselves.

When the British arrived on our lands, rather than respect our rights, laws and customs, the story of terra nullius was fabricated: Aboriginal and Torres Strait Islander peoples simply did not exist as fellow humans in the eyes of our colonisers.

Bradbury's story was a comment on nuclear proliferation rather than the perils of home automation, but the idea that technology requires human oversight is more resonant than ever.