Sentences with phrase «narrative image where»

Not exact matches

In analysing the dynamics of (mis) perception that allow sequences of images to be viewed as comic narratives — asking, in effect, just who or what we think we're laughing at — the articles assembled here hopefully shed some light on the contested ground where ethics and aesthetics meet.

Auteurist critics who mined these strata have rejected Zinnemann because his is a literal - minded cinema of the spectator, where the images and narrative are displayed with craft and artistry, but which do not ask the viewer to participate in completing the equation of form and content.

Tellingly, Shame starts to feel banal as McQueen explains who his characters are and where they come from; in narrative filmmaking, one can present decontextualized images for only so long.

Weaving Cooper's life into a poetic narrative about humanity's history and future, Aitken's words become a leitmotif of a gradual deconstruction of images and sounds into a dystopian landscape where nature and technology exist.

Assembling in Marfa will be a faction of contemporary artists who are peeling the page one frame - at - a-time in an inquiry into the visual dimension of language, ranging from David Gatten's reflection on the role of documents and Michael Tracy's secret, worldly recitations to Julia Meltzer and David Thorne's digital archives where images become a fault - line between world views and hidden narratives.

The artist aims to capture content, specifically in search of «giving narrative life to objects, to alter their course, utility, and to amplify their charm; inscribing meanings and stories to these same objects, removing their varnish so as to not be perceived as «the [immutable] originals»; provoking collisions between images and assembling vernacular history with fantasies; fomenting a contemporary prosopopoeia, where a simple leather cushion, a tennis racket, or a lid of a tin biscuit box bare faces and voices.»

Recently his narrative has taken him down still other new avenues: Large canvases covered with copper where he has cut into the material to create the image.

MY EXHIBITIONS are non-linear narratives, where the juxtaposition of each image together tells a specific story, like Scott McCloud's definition of comics in his great book Understanding Comics: The Invisible Art (1994).

Referencing 17th century Dutch still life painting and Asian animation genres, the artist creates video images that are caught between action and non-action, where narrative is both imminent and suspended.

Each image created by Chinese illustrator Jin Xingye seems suggest a moment from an untold story, where people and creatures appear to share surreal, tender moments from within a larger narrative.

Molly Beauchemin notes: «If Instagram is a space where every photo tells a story, even subversive images become part of the narrative.»

The exhibition includes the following films: Closeup Gallery (2003), in which a magician and his assistant engage in a strange game where cards dance, as if equivalent with inner worlds; Soft Materials (2004) where intimate relationships between man and machine are nurtured in an artificial intelligence laboratory; Harpstrings and Lava (2007) a dark narrative that animates dream images through clashing textures and structures; and the new film Sensorium Tests (2012), which revolves around a recently recognised neurological condition called «mirror - touch synaesthesia».

The first two books (furlong: blue evening and furlong: Adriana dreaming) where essentially a small catalogue of images that formed a loose narrative.

Given the current social context, in which everyone constantly sees and shares images of themselves on different networks, Carvalhosa's installation triggers a strange feeling within the viewer, who instantly pauses and enters something of a «non-place,» where the lack of narrative can be disconcerting.

This selection of drawings and prints traces a range of subjects, including: «Ideas Generation», where artists use the immediacy of drawing as a means to prepare and refine a concept; «Systems, Architectonics and Abstraction», in which predetermined rules, structures and methods govern the form of the image; «Expressions of Anatomy», where intimate portrayals of the figure assume a central position; «Graphic Narratives / Surreal Legacies», featuring imagery from the fantastically bizarre to the comically illustrative; and «Historia», which examines how drawing has been used to question the role of photography in the mediation and construction of historical memory.

The artist has referred the «limitations of a photograph in terms of narrative capacity to have an image that is frozen in time, (where) there's no before or after» and has turned that restriction into a unique strength.

Dymoke's instinctive and material - oriented process of creation leads the viewer onto a mental journey where metaphors and other improvised narratives smoothly intertwine to open a new logic while reinvestigating the symptomatic image.

In her sculptures and wall works, Kathryn Andrews appropriates images from popular culture, often from American movies, television, and stock photography archives; she then alters and recontextualizes them into three - dimensional configurations to create new narratives where viewers are invited to rethink the images» content in relation to their own bodies.

From her early staged images with vaguely intimated story lines to her recent, structuralist - influenced films, Sharon Lockhart's work has consistently staked out an ambiguous territory between the photographic and the cinematic - a location where the flow of narrative and the stasis of repetition intersect.