Sentences with phrase «modes over the narrative»

Not exact matches

From the magic lantern - style innovation of his sculpture installation Six Men Getting Sick to the fixed camera placements of The Alphabet to the rudimentary narrative of The Grandmother (whose heavy's freakishly accentuated jawline transforms his countenance into that of a snarling villain in the «Perils of Pauline» mode) to, finally, the total aesthetic compromise of the shot - on - video The Amputee, the first few entries contained on «The Short Films of David Lynch» imply that there is only one destiny for the medium, whether its evolution is spread out over a century or concentrated in the time it takes for an artist to develop a conscience.

Her fantastic work on the Tomb Raider reboots are obviously her standout credits, but it was great to see what lessons she learned from her more challenging writing experiences when she was a «narrative paramedic» on projects and how she's pushed to new modes of working over the years.

The game does have an online campaign mode which is a meaty chunk of narrative served over a series the game's multiplayer maps.

The Story mode does do one weird thing, where some narrative portions are rendered with in - game graphics but then suddenly switch to a slideshow of the anime with voice - over, going so far as to even include a side quest that is literally just watching a slideshow.

That mode is so monotonous and soulless — from its endless use of the same enemies over and over again, to its trite and tired narrative — that it drew my attention to just how fatigued this entire franchise is feeling with multiple releases every year.

The narrative is an important aspect of this series and each of your choices over the course of the game affects the rest of your experience in an open - ended story - mode that requires strategic decisions on the battlefield but also outside.

-- «Competitive Rankings and Matchmaking for Our Games» by Nick Gaulin — «Bringing Day of Infamy's Characters to Life» by Gabriel Fronza — «Pushing Our Cinematic and Narrative Capabilities» by Andrew Spearin — «Day of Infamy's Level Design and Multiplayer Game Modes» by Jeroen van Werkhoven — «Day of Infamy's New AI and SP / Coop Modes» by James - Lea Baran — «Improved Menu Design Workflow with Coherent GT» by Stephen Swires — «Voice Over and Writing in Day of Infamy» by Michael Tsarouhas

The content of her work meanwhile questions conventional modes of filmmaking: linear narrative is passed over for a circular approach, and recurrent themes — investigations of time, duration, and the act of seeing — favor visual explorations instead of traditional representation.

I've taught a lot of books: I taught Northrop Frye, who is good because he classifies narratives in terms of the protagonist's control over the environment, so you start in the heroic mode where the protagonist has total control and you end up in the ironic mode where the protagonist turns into a beetle.

The earnest «reflexivity» of the narration, which constantly draws attention to its modes of discourse; the smug female voice - over artist, who bizarrely mispronounces the numerous French words; the use of another medium — in this case dance — to create a kind of abstract demonstration of the film's content — these things all hark weirdly back to the «materialist» theory that influenced art school teaching in the Nineties, and further back to the frequently soul - destroying «deconstructed narrative» cinema of the late Seventies and early Eighties.