Sentences with phrase «more narrative work»

Not exact matches

Sometimes the most secular of scholars found that what Frei was doing, with his attention to narrative and his interest in the language that shapes a particular community, made more sense to them than the work of many theologians much more systematically concerned to address other academic disciplines.

This tripartite organization makes the overall narrative disjointed, with Beecher fading to the background as ever more characters crowd onstage and the work becomes a survey of 19th - century history.

In speaking of «parts» of the Galilean ministry we refer not to successive phases of Jesus» work but merely to more or less distinct portions of the narrative, sometimes marked by the insertion of collections of sayings and sometimes arbitrarily divided for convenience in presentation.

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.

Please furnish a resume, cover letter, names and contact information of two professional or academic references, and two of your own work samples (preferably one narrative written product and one other sample that uses a graphical, web, video, or other format to convey complex or technical concepts to non-technical audiences) totaling no more than 20 pages.

But by assigning the complaint to the new paradigm — by blaming the new style of play for his problem instead of making a direct appeal to get more free throws himself — he shapes the narrative in a certain way that may make it more likely for the league or individual officials to work him more fairly (in his eyes).

I can only hope that this attempt is taken more seriously than the largely muted and clearly unsuccessful protests of late last season... although the plane writing escapade brought some much - needed attention to the matter, it failed to resonate with fence - sitters and those who had just recently fell off the Wenger truck... without a big enough showing of support the whole endeavor appeared relatively weak and poorly organized, especially to the major media outlets, whose involvement could have significantly changed what was to follow... but I get it, few wanted to turn on their club, let alone make a public display of their discord... problem is, they are preying on that vulnerability, in fact, their counting on you to keep your thoughts to yourself... who are you to tell these fat cats how to steal your money... they have worked long and hard to pull the wool over your eyes... they even went so far as to pay enormous sums of cash to your once beloved professor to be their corporate spokesmodel so that the whole thing would be more palatable... eventually the club made it appear as if this was simply a relatively small fringe group of highly radicalized supporters, which allowed the pro-Wenger element inside the club hierarchy to claim victory following the FA Cup win... unfortunately what has happened to this club can't be solved by FA Cups or a few players coming in, the very culture of this club needs to be changed and that starts at the top... in order to change the unhealthy and dysfunctional narrative that has absorbed this club we need to remove everyone who presently occupies a position of power... only then can we get back to the business of playing championship caliber football, which should always be the number one priority of this organization... on an important side note, one of the most devastating mistakes made in the final days of this hectic and poorly planned transfer window didn't have to do with the big name players like Sanchez or Lemar, but the fact that they failed to secure Jadon Sancho, who might even start for Dortmund this season... I think they might seriously regret this oversight... instead of spending so much time, energy and manpower pretending that they were desperately trying to make big moves, they once again lost the plot due to their all too familiar tunnel vision

This narrative becomes a shade more sinister when the dubious category of the «white working class» (apparently neglected more due to its whiteness than its class) is elevated to the status of Labour's «traditional» support — the «core vote» residing in the «heartlands».

In generous tributes to the other candidates, he applauded Burnham for his work on health, Kendall for her friendship during the campaign and Cooper for helping to shape the political narrative on Britain taking more refugees.

Then Barrow works through a lively history of mathematical concepts, which never ducks the hard bits — including equations — but locates them so well within the narrative that it is impossible to be more frightened than fascinated.

Goodfellow has been working on machine - learning models to let computers invent more dynamic narratives, which could go beyond limited scenarios such as planning out a series of chess moves — something computers have done extremely well for decades.

I always try to still write a strong narrative with those posts, and since so many of you like the wear - to - work posts more than general outfit posts, I will try to show you more of my work wardrobe when shooting looks.

While Rockstar San Diego may find some difficulty in filling its open expanses with interesting and emergent play, it does imbue it with a stark beauty and compelling narrative that makes Redemption more than just an allusion to cinema, but a piece of work that can confidently stand next to it.

The works of Max Brooks, who wrote 2003's satirical and subversively political, «The Zombie Survival Guide», and 2006's, «World War Z: An Oral History of the Zombie War», provided the kernels of inspiration for this mega-budgeted horror - action - thriller that mostly makes up its own narrative, independent of much of the book content (jettisoning the first - person account style and most of the events), to make it fit more with the ranks of current, eye - candy loaded popcorn movies than a thoughtful adaptation of the best - seller.

When the dance is finally beat, Robert Baker... or Alabama, there's something endearing enough about the pretty points in cinematography and score work, touching occasions in entertainingly well - paced direction, interesting spots in a colorful story, and across - the - board decent performances - especially the one by Evan Rachel Wood - for the final product to border on decent, ultimately falling under the overwhelming weight of the glaring tonal and narrative incoherencies, flat humor, dramatic contrivances, problematic themes, even more problematic leads, ridiculous story and onslaught of clichés which render Andrew Fleming's «Barefoot» an occasionally charming, but mostly mediocrely misguided romantic dramedy.

The trick for a movie of this type, at least one that is aspiring to be more than just a simple - minded exploitation film (such as the original Charles Bronson «Death Wish,» a far more complicated work than usually given credit for, especially in comparison to its tacky sequels), is to create a narrative that somehow justifies such actions without completely overdoing it.

Even though The Amina Profile works as a cyber-thriller of sorts, I think it's much more wide - reaching than that, a story about online identity, but also about the danger of media - constructed narratives, one that manages to salute both citizen journalists, but also establishment outlets like NPR.

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.

While the respectable result is a more meaningful film than just about anything Mandoki worked on during his 17 years in Hollywood («Angel Eyes,» «Message in a Bottle»), pic suffers from an overindulgence of triumph - over-adversity cliches and a meandering narrative.

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.

«Legacy» very much feels like Arrow trying to find its footing once again, and though the episode takes some steps in getting the show back on top, more work has yet to be done to redeem the series for last season's jumbled narrative.

A more unconventional narrative like one used in Pulp Fiction or Kill Bill wouldn't have worked as well here.

«Trapped» gets its narrative from the current state of affairs, in that it is more about the stagnant, daily chaos wrought by these bills (the struggle of a Tuscaloosa clinic to stay open while not able to serve anyone does provide a small arc).

The ongoing absence of momentum within the narrative ensures that Agora becomes more and more tedious as it unfolds, with the tragic conclusion subsequently unable to pack the emotional punch that Amenábar is clearly striving for - thus cementing the movie's place as a misguided and utterly forgettable piece of work.

There's no tension, no forward narrative, more cliches than a Roland Emmerich film, no proper establishing of scenes or the geometry of said scene so you can work out where everyone is and what needs doing and some piss poor acting.

Sure, his work is often vindictive, depressed, and nihilistic, but there's more than meets the eye to his seemingly hopeless narratives, many of which routinely balk at humanity's capacity for meaningful change.

Williams, a regular Reichardt collaborator, gets the least satisfying of the three narratives, but the final 45 minutes, which also features spectacular work from Stewart, more than makes up for it.

INTERNATIONAL NARRATIVE FEATURE FILMS: Any narrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raquNARRATIVE FEATURE FILMS: Any narrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raqunarrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary» style.

It's an unabashedly high concept premise that's employed to positive effect by director John Landis, although it does go without saying that the lion's share of praise for the film's success belongs to both Aykroyd and Murphy - as the actors» exceedingly engaging work ultimately proves instrumental in smoothing over some of the more questionable elements within the narrative.

U.S. NARRATIVE FEATURE FILMS: Any narrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raquNARRATIVE FEATURE FILMS: Any narrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raqunarrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary» style.

It kind of worked, bringing a nice relationship between the two characters and Farrell acting as a narrative device for the audience to explore McClane's character a bit more.

The complex narrative is rendered more relevant by the appearance of familiar technology in the film, where animals take the subway to work and Facetime their families.

A chronological leap advances the narrative seven years, and the reckless romanticism of the film's first half drops away to reveal a chillier, calmer work focused more explicitly on scientific inquiry.

Danny Strong, well - known for his work on HBO tv biopics, teamed with Lee Daniels to pen the screenplay that manages to somehow balance the epic sweep of the narrative and the more subtle intimate social commentary.

But ultimately one comes away with the impression that far more thought has gone into creating impressive tableaux and evoking the patina of the past than working on a dynamic narrative or getting absorbing performances out of its young stars.

With «Frances Ha,» Noah Baumbach's directing career entered a new stage emboldened by his work with co-writer and partner Greta Gerwig, though the scrappy nature of that narrative and Gerwig's vibrant performance led to the impression that it was more her voice than his driving the proceedings.

While there were some entertaining moments and the mission worked as a tutorial level, its level design felt inspired by the classic capture the flag multiplayer mode, only more linear, against AI and with an added narrative.

So they spend much of the movie trying to build a narrative around Gore himself, as he works to open more minds and bring world leaders into his eco-fold.

(1) Indeed, beginning his fimmaking career in the 1960s, Schroeter has been an important and influential proponent of the New German Cinema, although his personal eccentricities and refusal to use conventional narrative tools in his films have rendered his work somewhat obscure and less marketable than some of his more famous contemporaries such as Rainer Werner Fassbinder, Wim Wenders, Werner Herzog and Volker Schlöndorff.

Mistress America, however, lacks the emotional pull of While We're Young; it's a looser but more disposable entertainment, and while Gerwig and Baumbach remain masters at penning hilarious bon mots, they've failed to supply their joke - machine narrative with the kind of prickly, complicated characters that occupy the director's best work.

One More Time — whose working title, When I Live My Life Over Again (also the title of Paul's new single), was changed after Tribeca — is the second narrative feature written and directed by Robert Edwards.

Although its overwhelming logic is hence from video games — «I've never made it this far,» Cage tells his followers at one point, when asked what comes next — Edge of Tomorrow works best as a gleeful riff on the narrative tricks endemic to the cinema, an art defined more by editing than by images.

The writing also continues to be top - notch — from the sparkling dialogue, to the excellent character development, to the smartly plotted narrative that keeps you coming back for more — while the show's absurdist tone works even better in a period setting like the late 1970s.

The intermission marks more than just a shift in narrative focus from Rana to Kochadaiiyan but in Ashwin, who then takes what works best to the next level by completely embracing both the story's inherently exaggerated nature as a «legend» and, more importantly, the fantastical unreality of and the unbridled creative freedom granted by her chosen filmmaking approach.

This isn't a big issue, though, as the narrative formula Favreau and his team follow is tried and true and will work like gangbusters for those stepping into the theater expecting nothing more or less than a good ol' time at the movies.

Varda has experimented with all forms of filmmaking from shorts to documentaries to narrative feature films during her more than 60 - year career, including such works as the New Wave classic Cleo from 5 to 7, and Le Bonheur.

Granik, who made her debut in 2004 with the addiction saga Down to the Bone (the titles of her first two features give the amusing impression that she has taken the term «body of work» very literally), skillfully sustains the atmosphere, climaxing with a viscerally eerie light - of - the - moon boat scene that more resembles the work of the French festival - circuit lightning rod Philippe Grandrieux than a thuddingly well - intentioned American life - on - the - margins narrative like Frozen River.

It was work, but I more - or-less «got» the core narrative beats of LA Confidential and Tinker, Tailor, Soldier, -LSB-...]

The first film at least bested the latter - day Bond movies in plastic spy - movie pleasures — spiffy gadgets, goofy bad guys, over-compensating production design — and had a more or less consistent narrative, with working - class English delinquent Gary «Eggsy» Unwin (Taron Egerton) learning to become an agent of Kingsman, a shadowy «independent» intelligence agency disguised as a Savile Row tailor shop, under the tutelage of gentleman spy Harry Hart (Colin Firth).

Working again with director Jeremy Saulnier, Blair had perhaps the most thankless task in Green Room, literally moderating between the ice cold portrayal of Patrick Stewart and the more kinetic travails of the punk band at the center of the narrative.