Sentences with phrase «moves the viewer into»

This is a driving force behind effective movie and video game trailers, to evoke an emotional response that ultimately moves the viewer into action.

His strives to create images that inspire and emotionally move the viewer into looking at the natural world around them.

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.

The audience of cable programs in the United States is still a relatively unknown factor, and with an increase in the number of religious syndicators moving into cable the claim is made that a large number of additional viewers are attracted by cable religious programs.

Going back to those studies into how people look at images, results showed that viewers expressed that a natural way to go into an image was by moving from left to right, this means that a diagonal line originating in the bottom left and moving up and right in the image makes the viewing experience very natural.

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.

Fans may not like the CGI zombies, but unlike the video game creatures in I am Legend (2007), these are more filmed actor - CGI tweaked hybrids; their believability is really dependent on how much viewers will accept the virus as a fast - moving bug which immediately transforms a host into a rabid sprinter with super-strength (not unlike 28 Days Later).

But here, viewers will repeatedly call into question the far - fetched nature of scenes designed to keep the plot moving in a contrived fashion.

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.

Director Trey Edward Shults thrusts viewers into a situation without explanation, but enough facts become clear as the story moves on.

In the psychological horror film It Comes at Night, Director Trey Edward Shults thrusts viewers into a situation without explanation, but enough facts become clear as the story moves on.

From there, however, Isolation morphs into a slow - moving and decidedly claustrophobic drama that boasts few elements designed to sustain the viewer's rapidly dwindling interest - as scripter Chris Bullett's refusal to offer up any real backstory for the protagonist prevents the viewer from wholeheartedly sympathizing with (or caring about) her increasingly perilous plight.

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.

The New York premiere of «Jean Lewis» (April 21), a short documentary in competition at Tribeca, introduces viewers to a former Hollywood reporter whose fascinating life and famous connections are revealed when she moves into a nursing home and is forced to leave her belongings behind.

But here's why short is key: According to the video - tracking service TubeMogul, just 10 seconds into a video, more than 10 percent of viewers will have quit and moved on.

The InternationalStudent.com Travel Video Contest team came up with a short list of 14 finalists — combined with the Viewers» Choice Winner there are 15 finalist who will move into the next round of the contest.

Some streamers I've watched play Into the Breach, like LethalFrag, have used the coordinates as a way for viewers to suggest moves.

-- moves the viewer beyond the physical object into a space of introspection.

The images are flat on the pictorial plane yet shift at angles and points of entry, allowing the viewer eye to move around yet denies total access into the work.

My arrangements are schematic, inviting the viewer to move into a space of speculation.

Kline's small - scale rendition of a moving train draws the viewer into the painter's challenge as he tries to capture the essence of an object that defies, by its transformational movement, any such representation.

Looking into LAB, the viewer sees a room wallpapered in newspaper containing a salon - style hanging of glowing landscape paintings that seem to move as the viewer approaches them.

What resulted remained true to painting's basic materials while turning its traditionally flat surface into a field of topographical undulations that, interacting with light, appear to change a great deal as the viewer moves around them.

Holtzman's practice moves effortlessly from the wall into the gallery itself, producing an experiential atmosphere wherein the viewer's senses are stimulated by visual and tactile elements.

«The whole idea of putting marks into the Breathing Panels is that as the viewer move around them they change depending on the view you take of them,» adds the sculptor.

As the viewer approaches the work, the moving images gradually morph into shots of one - on - one confrontations of tourists taking photos ostensibly of the spectator.

The hues in Articulation Portfolio II Folder 28 (B) work in concert to give the flat surface the distinct appearance of a tunnel or other 3 - dimensional space; while the form on the left appears to move towards the viewer, the form on the right seems to lead directly into the canvas.

Spanning both gallery locations, this ensemble of photography, drawing, painting, moving image and sculpture allows viewers to drift into unfolding discovery.

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.

Landscapes and seascapes, simple from a distance, break down into complex collages of evocative visual information as a viewer moves towards them.

Mark Amerika's artworks move beyond the idea of conceptual collages to present a vision of the world that is made of undecipherable constructions, contradictions, multiplicities and vagueness: a world of tenuous connections that, by impeding a clear vision, leads the viewers into abuse and exploitation.

Since earning her MFA from the School of the Art Institute of Chicago in 2009, Lauren's work has developed into oil paint stop - motion animations - moving paintings in which thick impasto strokes appear to move before the viewer's eyes - and music videos for international acts.

I mainly paint trees with a composition that allows them to move beyond their borders into the room... My work on acrylic will at first appear to the viewer as a 2 - D painting.

As both journalism and art move into the extreme digital age, Radical Transformation affords the viewer a much deeper understanding of the past 60 years.

The silhouettes of the sculptural works continue this shifting as the viewer moves around the work, with an amorphous shape suddenly turning into a gaping mouth or a funny bird's head.

By moving the sculptures off of the base and into the viewer's own physical and emotional space, Sonnier has also addressed a challenge that has concerned sculpture for most of the twentieth - century and beyond.

As viewers stared into the images and moved around them, a radiant and flickering glow emanated through the mica and created a visual corollary to the mercurial quality of memory itself.

She aims to provoke a heightened sensory awareness in the viewer, tapping into our deeply entrenched relationship with colour, and exploring how it can move viewers, emotionally, psychologically and spiritually.

Described as a deeply passionate person by contemporaries such as Nicholas Serota, it is no wonder Hodgkin transformed his experiences into coherent physical objects that contain an evanescent and emotional sense of realism, with which he would rather move the viewer than convey the nature of an extract from his life.

James Turrell's Skyscapes, rectangular cuts into the ceilings of spaces that frame a patch of the sky moving above, encourage viewers to meditate on the beauty of the heavens and use light from to provide insight into changing natural forces, while Ólafur Elíasson uses blue to probe the phenomenological effects of the sky, for instance enveloping entire gallery spaces in blue.

A monumental sculpture forms the centerpiece of Buzz Kill: extending from the four corners of the gallery, and reaching from the floor to the ceiling, this massive painted aluminum sculpture divides the exhibition space into individual «rooms «through which viewers can move.

Eyes closed and moving steadily with unexpected bursts, his legs are cartwheeled round over his body or rolled across the floor, igniting the viewer's desire for music to disrupt the silence and for him to jump into a dance routine.

Speaking about this formal tension in an interview with Arthur Peña for New American Paintings, the artist said, «I aspire to make paintings that a viewer can seize immediately — entire as it were — and then can move into slowly.

She hopes viewers will experience moments when they transcend their everyday and move into reflection.

The viewer's eye is caught in the speeding tunnel; the viewer's body is moved through the K structure, climbing the staircase (only to reach a viewing platform that provides a view onto nowhere); and in the wider world, the viewer's actions are translated into digital information, which is moved through cable networks and data tunnels.

As viewers, we have a vague idea of the struggles and disciplines that go into creating works of art that get our attention, provoke thought, or simply move us.

In so doing, they also moved art beyond «painting as object» into a transformative process created by the artist, but completed by the viewer.

It takes into account viewers» reactions as they approach and move through the structures.

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.»

Holding and FitzGerald selected works that share a commitment to visual storytelling through paint, «sincere» works that restrict themselves to two or three compositional moves and invite viewers into participation.