Sentences with phrase «means viewers feel»

Live is informal — and by definition, unscripted — which means viewers feel like they're getting a more intimate experience.

Not exact matches

They point to other destructive aspects of television that have been stressed by television researchers and theorists; the privatization of experience at the expense of family and social interaction and rela - tionships; (33) the promotion of fear as the appropriate attitude to life: (34) television's cultural levelling effects which blur local, regional, and national differences and impose a distorted and primarily free - enterprise, competitive and capitalistic picture of events and their significance; (35) television's suppression of social dialogue; (36) its distorted and exploitative presentation of certain social groups: (37) the increasing alienation felt by most viewers in relation to this central means of social communication; (38) and its negative effects on the development of the full range of human potential.

When he reveals their meat is sliced in Iowa instead of in the store, many viewers reportedly felt that the point was a little shaky and the overall effect of the ad kind of mean - spirited.

Torres and Blasi wrap up the movie's central conflict so rapidly and so carelessly that it feels like an afterthought — as if they're eager to give the audience its happy ending, hoping against hope that viewers won't stop to think about what that ending really means.

These criticisms may not be entirely fair, but ignoring them makes the film feel something like a Hallmark channel movie, meant to make the viewers feel good, even at the risk of over-sensationalizing a topic.

The film is good to excellent in every way except morally, and there it's questionable more often than it should be, not because it's an evil film, or because the filmmaker or actors are bad people, but because the interplay of means and ends has been under - thought or misjudged, to the point where the film becomes a catalog of obscenities: a horror thrill - ride drawn from life, a thing for viewers to test themselves against while feeling just awful about Agu and his country, whatever its name is.

The film feels it was made specifically for Greek viewers, as all of the allegorical elements feel poignant and intentional, but not knowing anything about contemporary Greek society leaves you with the feeling of «this means something; I just don't know what it is.»

My main objectives for this series are to provide a situation where the viewer feels a primary and seductive sensory experience of light, color, or form stemming directly from flower material and then to stimulate consideration of the signifier and its related meanings today.

Asked to explain the meaning of his art, Kline claimed that his aim was not to impose the suggestions, but to let the viewer feel the painting at its sole discretion.

It occurs to one, upon seeing this show, that the strength in Tan's oeuvre is a refined ability to lead the viewer to find profound meaning in simple gestures, and to learn by looking and feeling rather than intellectualizing.

By folding, tearing, and combining, Yun - Woo Choi obfuscates the meanings constructed in two - dimensional printed material in an attempt to deliver intuitive feelings to the viewer.

Through the use and re-use of diverse forms and approaches their works create situations far beyond the sum of their parts; an intangible spectacle where clear meaning is not on offer and the viewer is made to feel complicit.

This emptiness created by means of reserved enactments, minimal interventions and reduced gestures makes space for the relationship between the separate works, mutually charged by their interaction, and thus opens up the interpretative impetus for the viewer's perception that is driven not only by seeing, but also by moving around, feeling and hearing.

To return to Duchamp, the viewer has to accept responsibility for generating half the art's meaning; the result for Rugoff is that «group exhibitions can be truly successful only when we succeed in making our audience feel that they, too, are an essential part of the group.»

Where as a figurative work of art might allow every viewer to engage with it on the same level by referencing some aspect of history or life with which we are all familiar, an abstract artwork requires that every viewer that sees it begins anew, using their thoughts and feelings to arrive at some conclusion about what it could possibly mean.

Whether she plumbs her fear of failure and feelings of worthlessness or is distracted by the sheer banality of life, the viewer senses she is continuously deposing herself as a means of arrest in an attempt to grasp life at all.

The exhibition's humour steadily gives way to a feeling of unease at the sheer quantity of existential contrivance surrounding us, the viewer — the creation of ideas and objects given meaning through entirely subjective invention; in an attempt to support meaning and therefore social order.

Like the best of his films, «Three Screen Ray» leaves viewers feeling that if they could just see it enough times, its meaning would come straight through, though probably still not on a conscious level.