Sentences with phrase «interesting as narrative»

As touching and genuinely interesting as this narrative may be, its implications towards community, togetherness and the workings of society at large don't translate very well into the show itself.

You can choose the topics that interests you as a narrative writer or your facilitator can give you the topic that they feel fits you scope and knowledge well.

Not exact matches

Perhaps the most interesting word if not the most controversial is the Competition Tribunals use of the word «QUALITY» to advocate for VOW's, in their online material, as part of their following narrative: «Most importantly, this includes a considerable adverse impact on innovation, quality and the range of residential real estate brokerage services that likely would be offered in the GTA, in the absence of the VOW Restrictions.»

The recitation of historical facts, narratives, and other trivialities will be minimized, except insofar as they support an interesting idea.

An interesting and suggestive aspect of his gender - based analysis is the near - total absence of religion as a cause of violence, unlike standard liberal narratives that attribute the progress of Western society to the taming of religious passions through secularization.

I have been especially interested in the Creation and Fall stories in Genesis as well as the Flood Narrative.

Remain, that's interesting with what you say of course the «evil Eve» narrative has been down to a miss - interpretation as both Eve and Adam equally took part in eating from the tree of knowledge.

As a result, our fourteenth and fifteenth chapters of Mark can be analyzed into two, or even three, classes of material: (1) the old, traditional passion narrative of the Roman church, ultimately derived from Palestine; (2) the additional material inserted into it by Mark, some of it perhaps from Palestine, some not; and finally, (3) some verses which may be later still, inserted in the interest of the risen Jesus» appearance in Galilee rather than in Jerusalem.

They understand that their narrative intervention is itself utterly contingent, itself to be understood exhaustively as a creature of a particular time, place, and set of interests.

The narrative of another person's life experience, especially when it is told as dramatically as Augustine's, holds perennial and intrinsic interest and pleasure for readers or hearers.

The world of parents and siblings can be portrayed as interesting but ultimately irrelevant to the grand narratives of the time.

Although I've found it very cathartic to speak, vent and end occasionally rant about all things Arsenal, we need to act carefully and intelligently right now or we're going to get played by this club even worse than at present... the pro-Wengerites and the suits, who represent a considerable proportion of the season ticket holders, don't want to believe that there is no plan and that Wenger has mailed it in for several years now or that things are going to get much worse before they get better... why would they... many have spent a considerable sum buying some of the highest priced tickets in the World... they want to have a front row seat to see something special and to be seen doing so, which simply provides ample justification for the expense and the time invested... to many of them, Wenger is the sun in their soccer universe... his awkward disposition, misplaced arrogance and his utter lack of balls makes him a rather unusual cult figure, but the cerebral narrative seemed to embolden those who already felt pretty highly of themselves... many might not even of really liked football that much before his arrival and rarely games they weren't attending... as such, they desperately believe that Wenger, and only Wenger, can supply them with their required fix... if he goes, they were wrong and that's a tough pill to swallow... they would have to admit that they were duped... they will definitely resent whoever made them feel this way, but of course it will be too late by then... so when we go overboard with ridiculous comments bordering of anarchy, it scares the shit out of them and they shift their blame towards us rather than at those who really perpetrated this act of treason... we aren't the enemy... we simply woke much earlier and the reason our comments have gotten more vile in recent years is out of utter frustration... in order for any real change to occur at this club we need to bring as many supporters as possible with us or the big money interests will fade and our ultimate objective will be lost... so it's time to focus on the head instead of the heart for now

Every week we get big stories which reinforce slowly shifting narratives - interesting and enlightening, perhaps, but about as surprising as an accountant's underwear.

Mr Moore told the David Hume Institute in Edinburgh: «There is an insidious narrative in which the Scottish government is portrayed as standing up for Scotland's interests by standing against the UK government.

However, his list of contributors could reinforce a narrative, suggested by Mr. Jeffries, that he's tied to Washington and its special interests, as the majority of his fundraising has been from PACs based outside of New York City.

That becomes interesting, as CrowdStrike has been the source for most of the details on the «Russians hacked the DNC» narrative.

I question the narrative that the UK by itself can't do as well for itself in the trade area, as it could with the divided interest EU government doing the negotiating.

«Every single party had an interest in the coalition narrative — the Lib Dems had their Ukip narrative, the Tories had their Labour / SNP, Labour had a coalition narrative which for them was the Tories weren't doing as well as people expected.

Written as a first - person non-fiction narrative, Born to Run combines the excitement of ultra-racing with very interesting scientific running research, and just a dash of a spiritual journey... it is perfect!

Life is Strange is becoming more and more interesting, and might turn out as one of the best narrative experiences of the year.

Director Ron Howard brings his usual light touch to the proceedings and manages to hold the viewer's interest even through the narrative's oddly action - packed final third (ie once the truth about Hannah's character is revealed, the film becomes more of a thriller than a cute little romantic comedy and there's even a chase sequence as the army attempts to capture the mermaid / woman).

A Most Wanted Man, like such other le Carré adaptations as The Tailor of Panama and Tinker Tailor Soldier Spy, has been hard - wired with an impenetrable narrative that holds the viewer at arms length from start to finish, with the convoluted, confusing atmosphere compounded by a total absence of interesting or sympathetic characters.

Like the characters mentioned earlier, the narrative is not very interesting and mostly served as a way to push me to different parts of the map.

It's a seemingly foolproof premise that's employed to distinctly (and consistently) underwhelming effect by director Johannes Roberts, as the filmmaker, working from a screenplay cowritten with Noel Clarke, Dave Fairbanks, and Marc Small, offers up a narrative that's been jam - packed with generic, hackneyed elements that slowly - but - surely drain one's interest - with, for example, the movie's absence of sympathetic characters growing more and more problematic as time progresses.

Filmmakers John Francis Daley and Jonathan M. Goldstein have infused Vacation with an almost aggressively episodic narrative that grows more and more problematic as time progresses, as the movie suffers from a hit / miss ratio that is, to an increasingly palpable extent, far more miss than hit and it does consequently become awfully difficult to work up any genuine interest in the protagonists» continuing exploits.

The narrative's shift into its comparatively uneventful midsection, which mostly follows the protagonists as they walk through the Shimmer and make interesting / horrifying discoveries, suffers from a somewhat hit - and - miss feel compounded by an overlong running time (ie portions of the second act could've used some trimming), with the movie benefiting substantially from a continuing emphasis on sequences of a thoroughly engrossing nature (eg the crew is attacked by a vicious hybrid creature).

Along with them though comes a deeply interesting narrative and fun hack - n - slash combat filled with quirky, unique characters who feel as involved in the story as you.

Lanthimos isn't so much interested in narrative straightforwardness as he is in capturing an emotional concept.

Music factors into the romantic fragments of Creed's subplot in interesting ways, and if Ludwig Goransson's score feels as comfortable as the narrative formula, a steady, throbbing hum apparent each time Creed and Bianca interact succeeds in creating a fitting tone.

There's a healthy amount of sharp writing and dialogue on display in the latest theatrical preview, while the themes and psychological nature of the narrative seem quite interesting, as portrayed here.

As interesting as its warring - faction premise seems, the game's narrative is ultimately just an excuse for players to go around fighting groups of different enemieAs interesting as its warring - faction premise seems, the game's narrative is ultimately just an excuse for players to go around fighting groups of different enemieas its warring - faction premise seems, the game's narrative is ultimately just an excuse for players to go around fighting groups of different enemies.

The progressively formulaic storyline, coupled with a palpable spinning - its - wheels narrative, ensures that one's interest steadily wanes in the buildup to the predictably upbeat conclusion, which confirms Straight Talk's place as an agreeable yet hopelessly forgettable little romcom.

Unfortunately, as strong as Morton and her castmates — including Hunt, Corey Stoll, Rashida Jones, Alice Eve and «West Wing» veterans Richard Schiff and Bradley Whitford — may be, there's a gnawing sense throughout «Decoding Annie Parker» that the deeper, more interesting narrative isn't being told.

While I found it interesting to form my own rationale as to what the film is about, by the same token, I often am reluctant to actually recommend films that don't work on fundamental narrative terms without having to read personal philosophical theories into them.

With an actor such as Mulligan, always dependably watchable and interesting in even lesser narratives like Wall Street: Money Never Sleeps or when given less to do like in Drive, we as the audience want to connect with her, especially granting that we know she's our protagonist.

Following a single father who works as a human billboard in Taipei, and his left - to - their - own - devices kids, with the presence of their mother represented by three different actresses, the film has the barest thread of story (Tsai has admitted that he no longer has any real interest in narrative), and seems determined to provoke less patient audience members into walking out, with a series of shots that last upwards of ten minutes without all that much movement in them.

As an astounding Shakespearean director and actor, he is also proven to make bigger budget films work for him and tell interesting narratives for characters we didn't think we'd care about i.e. Thor and his live - action remake of Cinderella for Disney.

While low budget, «They All Come Out» is an interesting film that does offer a different point of view and look at the prison system, as well as an intersting blend of documentary and narrative filmmaking.

An interesting idea, but unfortunately, the film's narrative and emotional engine operate as mechanically as the titular, dead - eyed glamazoids.

But its lack of interest in tennis as a sport leaves the narrative — plastered with hot - button issues and character crises — with an empty center.

The worst moments are ported complete from the Tolkien source material (and the theatrical version of The Two Towers): the convenience of a fortuitous in - battle as little Sam storms an enemy keep by himself, the deus ex machina of giant eagles arriving at moments of crisis (in fairness, it seems as though the scene establishing their summoning has been jettisoned), the curiously limp money shot of Aragorn's grasping of his legacy, and a general narrative choppiness that defeats pacing and deadens interest for all but the most invested.

Closest to the narrative and the camera is Graysmith (Jake Gyllenhaal) himself, whose interest in the Zodiac moves from passive to obsessive as justice becomes increasingly elusive and his young family increasingly distant.

The film rates this high for me not just because of its technical skill (the ensemble acting is terrific, with Kelly Macdonald in particular doing great work in just a few scenes, and Roger Deakins's cinematography is as good as anything he's done with the Coens, and that's saying a lot) but because of its ambiguity: because the questions it raises about narrative and about society are as interesting as those raised by any other film (but one) of 2007.

Compston and Marsan are particularly good, and its interesting to watch their dynamic shift as the narrative unfolds, whilst Arterton is quite frankly brilliant at being terrified, but even more convincing as a woman in control.

I can appreciate the ambiguity that the developers have tried to achieve here by presenting the narrative in a non-linear structure, but it is also marred by a gameplay that is repetitive and doesn't have anything interesting to offer so it unfortunately doesn't work as intended.

The Academy took a shine to that doc, so perhaps the narrative version can be of interest to them as well?

There's a lot of moving pieces in the picture, as well as a couple interesting flashes of narrative that almost hold one's attention, yet Youth doesn't seem all that certain what it wants to be about.

This is the second film I remember in recent years starring Sarah Jessica Parker (Failure to Launch being the other) where the supporting characters prove more interesting than the main players, to the point that the audience, as well as the filmmakers, would rather follow them to the detriment of the overall narrative.

The story eventually shifts back to Los Angeles, with J.B.'s neighbor, Brenda (Lake Bell) emerging as an agreeable force in the narrative — as a potential love interest for J.B. and as part of an unusual family unit with J.B.'s new houseguests.

Price similarly functions as a narrative device (a Terminator-esque threat meant to keep Neeson and Kinnaman running), but even in a mostly wordless performance, Common manages to make the hitman an interesting and frightening figure.