Sentences with phrase «in narrative sequences»

The selected works represent a diverse universe of postures that transcend the isolated meaning of an image and gather together exterior connexions by using a series of strategies, such as the disposal of multiple images in narrative sequences or the use of photographs treated as semantic unities in «visual phrases» that create bigger sets.

(São Paulo, Brazil) The selected works represent a diverse universe of postures that transcend the isolated meaning of an image and gather together exterior connexions by using a series of strategies, such as the disposal of multiple images in narrative sequences or the use of photographs treated as semantic unities in «visual phrases» that create bigger sets.

Not exact matches

In a narrative account, the historian offers events in a sequence designed to evoke in the reader's imagination the contrasting elements and potential configurations discussed above, with the expectation that the reader will hold them together in an emerging synthesis as the story progresseIn a narrative account, the historian offers events in a sequence designed to evoke in the reader's imagination the contrasting elements and potential configurations discussed above, with the expectation that the reader will hold them together in an emerging synthesis as the story progressein a sequence designed to evoke in the reader's imagination the contrasting elements and potential configurations discussed above, with the expectation that the reader will hold them together in an emerging synthesis as the story progressein the reader's imagination the contrasting elements and potential configurations discussed above, with the expectation that the reader will hold them together in an emerging synthesis as the story progressein an emerging synthesis as the story progresses.

A realistic narrative is, as Aristotle taught, a sequence of events that, in retrospect, «had» to happen or could happen in the real world.

Here, indeed, it is less formal, and story and teaching alternate more freely; yet even so each of these works provides examples of sequences of ethical precepts, more or less complete in themselves, and comparable with those which we found in - the epistles; and these are related to passages of narrative which serve to introduce them.

These first five verses also appear to be from a later source (they are omitted too in the same manuscript of the Greek translation), but the information imparted, though premature and out of sequence, is certainly in essence true, as subsequent narratives testify.

I don't protest the order of the chapters but suspect, along with a lot of others who've worked this through, that this Cave narrative was originally independent of the sequences of the drought in 17 - 18.

His methodology in his book is to discuss the gospel narratives in sequence, thoroughly and carefully, and he is able to show that such myth is a major factor in the narratives.

The Passion narrative is the only long passage in the Gospels that relates events in complete sequence (see p. 33).

Although pairwise connections between different types of experiences were found in terms of how likely they were to follow each other chronologically, no universal sequence of events could be established in this sample of narratives, which suggests that each near - death - experience has a unique pattern of events.

«The aim of our study was to investigate the frequency distribution of these features, both globally and according to the position of features in narratives, as well as the most frequently reported temporality sequences of the different near - death - experience features.»

The performances are fantastic, and the screenplay by Eric Pearson, Craig Kyle, and Christopher Yost, while simplistic in its narrative ambitions, delivers exhilarating action sequences and memorable character moments that are executed flawlessly by Waititi.

Sometimes it feels like a tease with its frustrating aloofness, along with its head - scratching narrative detours, including a sequence in which the main character slowly eats and chokes on a slice of cake in a restaurant without further explanation.

While she keeps the action hopping from one flash point to the next and cooks up a couple of exciting sequences in the last 30 minutes, she doesn't develop the narrative momentum needed to sustain a two - hour story.

Stanley Kubrick shuns common narrative crutches such as voice - over narration or back - glancing exposition in favor of a strict antiseptic license that necessarily utilizes classical music from the likes of Johann Strauss to serve as an inner - connecting emotional aural fabric upon which the filmmaker balances mesmerizing outer - space sequences that have been copied ad nauseam ever since.

The story is told in great part by cinematic video sequences and ingame narrative sequences, and while these are fantastic in many ways they can also become a bit tedious.

There's little doubt, ultimately, that the character works best in extremely small doses and yet much of the narrative is focused entirely on his somewhat obnoxious (and completely unsympathetic) exploits, which ensures that large swaths of The Disaster Artist completely fail to completely capture and sustain one's interest - although it's hard to deny the effectiveness of certain making - a-picture sequences in the film's midsection (eg the shooting of the infamous «oh, hi Mark» scene).

Rather than a cohesive narrative, Avengers: Infinity War resembles the penultimate sequence of every Marvel Studios production that has come before, an exhausting series of ultimately futile action scenes that endlessly proclaim the goodness and importance of the supposedly heroic characters as they engage in battle against an all - powerful foe.

The inclusion of several admittedly electrifying sequences - ie Gekko's infamous «greed is good» speech - generally compensates for the periodically overwhelming narrative, although Stone's reliance on a progressively conventional structure, particularly in terms of Bud's familiar rise - and - fall character arc, ensures that the movie peters out as it approaches its far - from - unexpected conclusion.

From the staging to the style to specific sequences, Ratner has clearly modelled his vision of swords and sandals in the Game of Thrones fashion — the heightened narrative of tragic backstories and double crossing, the repetitive imagery of montages of training and fighting, and the multiple instances of royal infighting among them.

Though there are some clear seams showing (in terms of construction and sequencing), to Dracula Untold's credit the condensed narrative (90 minutes of runtime) does result in efficient movement - with action sequences coming steady and regularly to break up any lulls or muddled moments of development.

However, they do make great «wallpaper» cinema: films to turn on in the background during a cocktail party to entertain your guests (especially fun when Thunderbirds are Go casts aside narrative and indulges in a prolonged dream sequence at a night club in space — call it a camp precursor to the Stargate sequence in Kubrick's 2001: A Space Odyssey).

The movie that unfolds from this premise is at least as funny as the original Deadpool, and better in virtually every other respect: better plot, better villains, a few unexpected narrative swerves, and, yes, at least one genuinely moving sequence.

Johnson stages some of the most dynamic action sequences ever seen in a «Star Wars» movie and sets them to a ticking - clock narrative that heightens the tension.

Fortunately, the movie doesn't feel like an overextended sketch though it does have its narrative detours that dawdle (a celebrity drug deal is padded out with far too few jokes), running jokes that hold on for a beat too long and then some (the George Michael fascination culminates in a drug sequence that does absolutely nothing), and there are missed opportunities that seem obvious (Key using his new gangster friends to intimidate a man making advances on his wife).

With its convincing depictions of Margo Robbie [apparently] executing Harding's signature triple axel in mind - blowing competition figure skating sequences, «I, Tonya» (written by screenwriter Steven Rogers) adopts a narrative style that flips between direct - to - camera confessionals and straight - ahead drama.

and a relentlessly episodic narrative - with, in terms of the latter, the ratio of compelling to pointless sequences aggressively low.

And while Tibbetts has admittedly peppered the narrative with a few standout sequences (eg Martin attempts retrieve Jack's handgun while the man is unconscious), Retreat has been saddled with an aggressively uneventful midsection that does, in the end, diminish the impact of its final scenes - which effectively cements the movie's place as a thoroughly misguided piece of work.

If the narrative structure of the piece is framed by two matches between Eddie and Minnesota, the thematic structure is a freight train to Hell punctuated by first a late - night train ride where Burt lays out what he thinks of Laurie, then this rape sequence, which cements the transition from Elia Kazan's Breem - contaminated A Streetcar Named Desire to the collapse of Breem's Code later in The Hustler's decade.

The movie isn't perfect — Daniel Brühl's villainous Zemo is underserved, and the filmmakers ignore a key argument in favor of the anti-registration side — but it does such a good job of balancing the emotionally - charged narrative with some excellent action sequences and fan service that those flaws seem trivial in comparison.

In analysing the dynamics of (mis) perception that allow sequences of images to be viewed as comic narratives — asking, in effect, just who or what we think we're laughing at — the articles assembled here hopefully shed some light on the contested ground where ethics and aesthetics meeIn analysing the dynamics of (mis) perception that allow sequences of images to be viewed as comic narratives — asking, in effect, just who or what we think we're laughing at — the articles assembled here hopefully shed some light on the contested ground where ethics and aesthetics meein effect, just who or what we think we're laughing at — the articles assembled here hopefully shed some light on the contested ground where ethics and aesthetics meet.

Rather than an obligatory voiceover or a throwaway dream sequence, their horrific past is instead drip - fed throughout the narrative, with all of the action taking place in one house, past and present.

Add two dream sequences woven into the narrative with sinister subtlety, and it becomes apparent that the entire film plays like a projection of a male wet dream - cum - nightmare of a libido that knows no borders, leaving Sung - nam apologizing absurdly to his wife for things he said in his sleep.

Sequences occur in contained rooms, recalling the claustrophobic, object - driven narrative environment established by the physicality of the stage.

Although in one instance — a party sequence featuring a rather clichéd depiction of Catherine's feelings of claustrophobia in a crowded space — the film falls victim to a heavy - handed narrative choice and unsubtle execution, more often, smaller moments such as Catherine's interactions with Rich, or her reminiscences about the past with Ginny, become crucial in expressing her emotions.

In almost any other movie, the idea of propping your story up through amnesia would be an absurd, risible narrative course, but Liman, aided by Matt Damon, make the absence of self feel paramount in the film and its spectacular action sequenceIn almost any other movie, the idea of propping your story up through amnesia would be an absurd, risible narrative course, but Liman, aided by Matt Damon, make the absence of self feel paramount in the film and its spectacular action sequencein the film and its spectacular action sequences.

The absence of true danger and, thus, suspense, proves a constant narrative obstacle, though it's nonetheless one occasionally hurdled courtesy of breakneck pacing and clean choreography that's first evident during a slam - bang opening chase, and regularly picks up again during similar sequences in which its characters race through streets, leap between apartment buildings, and sneakily infiltrate a crowded police station.

Hasford also contributed to the screenplay, although the film version is told in two «chapters» instead of the book's three (The boot camp depiction is faithful to its source; the war reporter and Vietnam battle sequences are condensed and combined for narrative brevity.)

and there is a myriad of visual incident and detail to drink in but aside from a gladiatorial sequence involving what can only be called giant, sharp toothed Martian apes and a Braveheart style desert battle in which Carter takes on the Tharks single - handed, the production is somewhat lacking in action but Stanton's conviction somehow manages to transcend the dull stretches and narrative flaws which gives John Carter a unique charm all of its own.

Many of them performed daring stunts or served as stunt coordinators and technical advisors on the production ensuring that the action sequences are authentic and unlike anything audiences have ever seen before in a narrative film.

A few of the fight scenes feel a little «same - same» as you notice fight choreography repeating, but Evans manages to provide enough variety in the execution to ensure each sequence heightens the escalation of the narrative.

There are no dream sequences — only soothing interludes in tune with the narrative's continuity yet feeling almost otherworldly.

Although there are some scattered big laughs, too many of the gags are labored or crude or both — such as an extended sequence in which Renee impulsively enters a sports - bar bikini contest — and the narrative detours into her romantic travails are more annoying than endearing.

It's not the most elegant narrative ever, unravelled in fits and starts and constantly interrupted in favor of another action sequence, but it gets the job done well enough.

Jurassic Park III ultimately falls right in line with its immediate predecessor, as the film, though equipped with a handful of effective sequences, simply isn't able to carve out a place for itself as a legitimately necessary followup (ie there's nothing within the narrative that advances the Jurassic Park story as a whole forward).

In terms of narrative structure, the previous Spielberg film that Lincoln ends up most resembling is Close Encounters of the Third Kind (1977), which while a more consistently entertaining film still provided a dramatic change in pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that lonIn terms of narrative structure, the previous Spielberg film that Lincoln ends up most resembling is Close Encounters of the Third Kind (1977), which while a more consistently entertaining film still provided a dramatic change in pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that lonin pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that lonin for that long.

The result of these competing narrative threads is decidedly mixed, especially during the period between the conclusion of a frantic sequence in the emergency room and a finale that presents three simultaneous burials.

This movie is ridden with plot holes, it has an unacceptable amount of logic issues, Mystique's costume is distractingly fake and silly looking, Anna Paquin gets a title card yet is in five seconds of the movie, multiple story beats are repeated and the narrative puts into question everything that's happened in previous «X-Men» films, but, if you can get past the fact that the «Days of Future Past» narrative is downright ridiculous, you can still enjoy some of the mindless, summer fun — and Quicksilver's sequences, because that's high quality cinema right there.

Reitman and Cody aren't especially interested in a narrative that's about a woman rediscovering the joys of family life — or, for that matter, one that's about a woman casting off those shackles, despite a late - movie sequence where Marlo and Tully tear it up in the former's old Bushwick haunts (complete with the perfectly and silently observed rigmarole of driving into Brooklyn from the suburbs even when there's not much traffic).

Theron, McAvoy, Boutella and John Goodman all turn in fun performances, but they're forced to do so much heavy narrative lifting that not even dazzling sequences like a hotel room shootout register with viewers as exciting.