Not exact matches
The battle has
moved out of
viewers» living rooms, where Americans once marveled at their ability to pop a cassette into a recorder and capture their favourite programs or the sporting event they wouldn't be home to see.
Recap culture bends toward the same talking points, and a critique of this season will certainly be «fan service» — i.e., by delivering what
viewers want (Jon resurrected, Ramsay Bolton and Walder Frey killed, etc.), George R.R. Martin and the showrunners have
moved away from the ruthless plot turns that made Game of Thrones stand
out in the first place.
Caputo said he has asked the Fox News anchor to tell his
viewers that, but the simple fact was he was preparing to
move out of Western New York to make more money.
She gives experience - based actionable how - to advice to empower
viewers and clients to get
out from under, over, and
move on from breakups; learn how to have amazing first dates; turn those dates into healthy, fulfilling relationships; and become their best selves.
In this
viewer submitted story, fresh
out of college, this guy
moves to Beijing, China... A recent study from the American Psychological Association found some interesting results regarding the statistics of Read More...
In this
viewer submitted story, fresh
out of college, this guy
moves to Beijing, China... A recent study from the American Psychological
In this
viewer submitted story, fresh
out of college, this guy
moves to Beijing, China... A recent study from the American Psychological Association found some interesting results regarding the statistics of
In this
viewer submitted story, fresh
out of college, this guy
moves to Beijing, China... A recent study from the American Psychological Association found some interesting results
The inclusion of a handful of compelling moments within the film's second half - ie one of the soldiers
moves higher and higher on the mountain to hopefully get a radio signal - are rendered moot by the otherwise uninvolving, bland atmosphere, while the needlessly padded -
out final stretch, which just seems to go on forever, is sure to test the resolve of even the most patient
viewer (and this is to say nothing of the seemingly endless closing credits).
I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we
viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night
Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family
out, directed in a simple, direct manner, utilising documentary elements within its fiction.
So when Morton's
moving into a location, even though the
viewer is meeting new characters simultaneous to Morton, it's flipped because the humans are trying to figure him
out just like the
viewer.
Lawrence's slow - going sensibilities, however, prevent the
viewer from wholeheartedly connecting to either the characters or the storyline, although, to be fair, it's clear that the movie benefits substantially from the inclusion of several stand -
out sequences - including a surprisingly
moving scene in which Katniss attempts to pay tribute to a fallen fellow competitor.
This set of internal relationships causes the
viewer's eye to
move about the canvas, picking
out new ideas.
Ordinarily I exhort
viewers and students to
move in closer on a painting, almost tight enough to sniff
out its secrets and enter the stroke - on - stroke progress of its making.
While packing up the museum's American collection for a $ 24 million expansion project, he kept 50 things
out, then
moved them into smaller, much more domestic spaces that transform the
viewer's experience.
While
moving in and
out of time, the
viewer observes everything from bird's - eye view.
When the
viewer moves in and
out of the projected light beams, they are forced to reconcile their perceived sense of a three dimensional object in space with the actual reality of the mutable properties of light.
He believed that by pointing
out the cruelty, economic oppression, racism, and brutality enacted by individuals as well as governments,
viewers of his work might be
moved to change society or at least to consider their own role in larger systems of power.
Another aspect that comes
out in the retrospective is that I want the
viewer to
move around to interact with the forms.
Each fragment disappears once the mime's hand
moves, challenging the
viewer's visual memory to make
out the form as a whole.
An idiosyncratic use of light also marks
out the work: sleek
moving surfaces periodically reflect the beams of Buckley's projections, creating hotspots and dazzling the
viewer.
Manglano - Ovalle scrupulously edits
out all clear reference to this odd «kill your fathers» ritual, leaving the
viewer with a dream - like sequence in which well - shod anonymous masses eternally exit and equally anonymous custodians endlessly
move in to sweep up the crystalline debris of modernism.
Describing these works that leap off the canvas, Steir has said, «Installation allows the artist to paint
out of the painting and into space and the
viewer to
move from space into a painting — the space where the act of painting takes place is in the imagination of the
viewer.»
This test displays an image in Windows Picture
Viewer and prompts you to zoom in,
move, and zoom
out of the picture.