Sentences with phrase «narrative aspects of»

Dall «Olio, Klein, and Larson explore the relationship, dependency, and narrative aspects of layering through subject matter and materials.

In other words, a mask is an avatar through which the player acts out, while a player character is an avatar that asks the player to role - play; combining the two by distancing the player from the character (by having all narrative aspects of the character occur solely in cut scenes) is schizophrenic, although also «business at usual» in contemporary videogames.

This layering is key to the narrative aspects of Cave Story.

Probably to get it really good I would have had to have spent a lot of time testing and replaying those puzzles, and doing that kind of iterative process you do for good games design, whereas I'm much more interested in the world explorational aspects, and the more narrative aspects of gaming, which makes sense because that's what I do.

For some time this narrative aspect of cosmology has been a dominant theme in process theology.

That goes not only for its approach to characterization, but just about every narrative aspect of the work — from the way Baker develops his larger plot to how he sequences his shots, carefully upholding its characters» sharply divisive existence.

Because of Kinsey's techniques, the narrative aspect of the work gets muffled and its formal qualities come to the forefront.

Not exact matches

An interesting and suggestive aspect of his gender - based analysis is the near - total absence of religion as a cause of violence, unlike standard liberal narratives that attribute the progress of Western society to the taming of religious passions through secularization.

Nor is this kind of analysis fatal to historians» literary pretensions; as I will show, it can bring to light aspects of narrative construction that enhance the flow of accounts, if only because the historian is more conscious of what he is doing.

In relation to narratives, one could say that each character and event is a detail that can reveal some important aspect of reality and touch deep feelings in the hearer or reader.

The dominant interpretation, derived from Franco - German scholarship of the nineteenth century, emphasized material aspects: political contest and domination in the Near East; the social structures of the Levantine crusader principalities viewed, especially by Francophone scholars, through the lens of modern colonialism; cultural confrontation and exchange through settlement and trade, a topos made familiar by eighteenth - century Enlightenment writers seeking to integrate the Crusades into a narrative of European progress; military adventurism that exposed the mentality of crusaders — heroic, passionate, devout, or misguided according to taste.

This power to enable participation, so that the new is not only what comes to us but a new reality which we ourselves make as we express our own creativity and purpose, is one of the great functions of narrative vision, and it must be an aspect of any future - oriented vision which is really open to the new.

For the global flood and related aspects of the genesis narrative to be true, this would effectively require that the entire scientific enterprise (i.e. physics, chemistry, geology, biology, astronomy, etc) be so fundamentally flawed as to be effectively worthless.

Although White is absolutely right about the tendency of today's animated films (Tangled included) to pander to the most annoying and depressing aspects of popular culture even as they ignore or deny the richer, deeper culture from which most classic fairy tales emerged, the animated features that Disney brought to the screen when Uncle Walt himself still oversaw the studio made a point of drawing considerable aesthetic, emotional, and narrative power from specifically Christian aspects of the culture that, even today, America shares with Europe.

The saddest aspect of the entire narrative is the role that prominent Catholics played in bringing widespread abortion to America.

This sense of the centrality of character and the ability to sketch an (l develop the characters of their heroes is one aspect of the notable excellence of Hebrew narrative.

What we have to ask is whether the New Testament narratives are affected by mythology less in their objective aspect than in our subjective way of apprehending and describing religious truth.

The second narrative emphasises rather the unitive aspect of marriage:» «It is not good that man should be alone; I will make him a helper fit for him»... [So God fashioned the woman and brought him to the man].

Other literary studies do not take the general approach to narrative that Jeansonne does, but narrow in on some aspect of it.

In virtually every aspect of congregational expression, the discourse of members is in some manner narrative.

11 - 12) and constitute a shameful breach of Yahweh's promise to the patriarchs (v. 13; the prayer, as other aspects of the narrative, is informed by relatively late traditional stereotypes).

Had the course progressed in the manner we had hoped, we would probably have also employed the in forming aspect of narrative, sketching the story as a scenario for action.

There were several people saying that Ronda was being discussed as the next opponent for Cyborg, including Cyborg herself and Meisha Tate... but you know, don't let the facts started by the people who were there interfere with your pro-Ronda narrative (despite your assertions that you're not a fan, you sure as hell are all - in on any side of the story that favors her, even when there is clearly a debatable aspect to it).

He's basically saying too much was being made of the tiramisu and «self control» aspect of it, because that's all the buzz and cloud that's hanging over Khabib right now, the narrative going into this fight..

Each chapter contains some narrative from the author, exploring the social and cultural aspects of women's experiences.

When Pink Ribbons Are No Comfort: On Humor and Breast Cancer Cultural Aspects of PTSD, Part II: Narrative and Healing Culture and Learning to Drink: What Age?

«Our analysis illustrates how conspiratorial narratives in science can distort the past in the service of contemporary causes and obscure genuine uncertainty that surrounds aspects of research, impairing efforts to formulate good evidence - informed policies.»

The ethically problematic aspect of placebos, the deception, thus does not appear all that different from a transparent and convincing narrative.

In the end, it's a very well crafted more of the same, where the change in the setting delivers some interesting landscapes and cultural aspects in the narrative.

It's still a shame that gameplay doesn't go beyond what's given for granted, many narrative aspects remain untouched, and the hour count itself remains thin, but that doesn't diminish the value of this debut.

What was made clear in discussing the film with its actor and director is that each sees Godard very differently, an aspect that manifests itself in the tension between the narrative and the intensity of Garrell's take.

It's the way that the movie feels so cold, and incurious, despite its incredible detail (it's a rare Netflix original film where constant pausing might make it even better) dynamic cinematography (using wide and full aspect ratios for narrative purposes) and general glimmers of newness.

It's the inevitable emphasis on Harding's rivalry with Nancy Kerrigan that triggers I, Tonya's marginal downfall, as Gillespie, in addition to padding out this portion of the narrative to a somewhat unreasonable extent, simply doesn't have the skill required to wholeheartedly pull off this decidedly over-the-top aspect (ie Gillespie's no Martin Scorsese, that's for sure).

«Zack and Miri Makes a Porno» is hilarious, but it's strongest aspect is the fact that it created pathos and honest sentiment within a narrative that felt like it'd have to be completely devoid of it.

While revenge narratives are often highly problematic in the way they represent certain aspects of society as deserving a violent death, Tarantino creates revenge narratives against characters that nobody in their right mind would sympathise with — Nazis in Inglourious Basterds and now sadistic slave owners in Django Unchained.

All these characters are «trying to control the narrative, and that's what I was trying to do in the documentary aspect of it.»

But for me the dullest and most timid aspect of this year's Oscar list is its almost ignoring Tom Ford's brilliant, ruthlessly provocative thriller Nocturnal Animals, a double - narrative about an unhappy art dealer (Amy Adams) who gets the manuscript of an unpublished novel through the post from her estranged first husband (Jake Gyllenhaal), and the action of this explicit crime thriller is dramatised as she imagines it, with this very ex-husband pictured in the lead.

Other aspects of the narrative also could have done with some more elaboration.

To make his argument, Bordwell must, of course, ignore those aspects of the films he studies that do not fit the classical narrative structure, like the non-classical nature of a character such as Memento's Leonard Shelby (Guy Pearce).

The way the filmmaker has imbued Japanese culture and folklore into proceedings is commendable however, particularly in the Alexandre Desplat score, using drums throughout, enhancing the more intense aspects of the narrative which serve the film well.

The slate of HD extra features comprises the usual studio - sponsored assortment of interviews and B - roll highlighting what the filmmakers feel were the most impressive aspects of the production and post, plus some narrative material that didn't make it into the finished film.

The resulting procedural aspect of the film gives it gripping narrative drive, but it's the pitiless portrait of middle - class life in modern Russia that lingers longest.

The combination of an overblown narrative and an overwrought style, and neither structure aspect's being as realized as they should be, render the film, well, sort of monotonous, at least when pacing is further stiffened by a chilled directorial atmosphere which dull things down, occasionally as tedious.

The dual narrative that searches for parallels in Travers» upbringing, her fantastical fiction, and her resistance to filmmaker ideas is the weakest aspect of the film.

Tangerine Entertainment produces narrative feature films by female directors, consults on various aspects of the filmmaking process, and works to create audience and community for work by women.

Taking place over four time periods (each with a corresponding aspect ratio that shrinks as the narrative burrows further into the past, as if the mental recollection itself is deteriorating), Anderson's eighth film follows the life of Zero Moustafa (portrayed by F. Murray Abraham in flashback and Tony Revolori in further flashback) as he joins the ranks of the opulent eponymous hotel as lobby boy under the tutelage of Gustave H. (Ralph Fiennes), the popular and outgoing concierge.

It's more of a slice of life sort of movie than one with a clear and easy - to - summarize narrative, but it's essentially a very good film concentrating on loss of innocence, scattered with moments of greatness usually brought to the surface by its strong technical aspects (from its stylized editing to its sporadic shifts in tone).

A big aspect of the film relies too much on a random coincidence which is always a pet peeve of mine, leading to a subplot that could have been removed without any narrative consequence, but at the same time it's this part of The Drop that gives it a tender heart which allows for a deeper emotional meaning.

Many of the characters he has portrayed struggle with how best to express paternal love, to perform the role of «father», and he has frequently placed himself within narratives that allow him to enact aspects of the father - son relationship.

He captures snippets of their charming, often profane conversations, cutting from one day to the next to create a slice - of - life story that only begins to take on a narrative aspect around the halfway mark.