Sentences with phrase «narrative moves at»

The game's narrative moves at a good pace, and it features some fairly robust lore courtesy of fantasy writer Ed Greenwood.

«The narrative moves at such briskness, you would be excused for not following it.

The soundtrack throbs with visceral intensity as the narrative moves at an odd, unpredictable pace.

Not exact matches

First published in the early decades of the nineteenth century, it is a long narrative poem about a young woman of great beauty and culture, her misfortunes, and the burdens of karma; a work of genuinely moving brilliance, grim and sad at many points, but also somehow radiant.

If we are struck by Francesca's courteous speech, we note that she is also in the habit of blaming others for her own difficulties; if we admire Farinata's magnanimity, we also note that his soul contains no room for God; if we are wrung by Pier delle Vigne's piteous narrative, we also consider that he has totally abandoned his allegiance to God for his belief in the power of his emperor; if we are moved by Brunetto Latini's devotion to his pupil, we become aware that his view of Dante's earthly mission has little of religion in it; if we are swept up in enthusiasm for the noble vigor of Ulysses, we eventually understand that he is maniacally egotistical; if we weep for Ugolino's piteous paternal feelings, we finally understand that he, too, was centrally (and damnably) concerned with himself, even at the expense of his children.

It feels to me like the church - at - large has taken a vow to NEVER get caught being too inclusive, and so has moved the center to a place which isn't quite in harmony with the biblical narrative.

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

Therefore, as much as I want to take her comment at face value about moving to support her daughter, I have to believe (cynically, I admit) it is part of the «narrative» to get Wiseman eligible.

Baker thinks that as the light moves it may illuminate successive narrative scenes, which only come to life at specific points in the solar cycle.

A torpidly slow epic with a script that moves at the speed of light, the film is pockmarked with incidents that never cohere into a clear narrative.

The narrative moves along at a flawless pace, with the sense of foreboding dread increasing in pressure until an insane climax.

At points, the manner in which Cox delivers his character's mental disintegration is very moving, at others it's clearly a narrative tool, by which revelations can later be used to extra dramatic effect, and sometimes mere expositioAt points, the manner in which Cox delivers his character's mental disintegration is very moving, at others it's clearly a narrative tool, by which revelations can later be used to extra dramatic effect, and sometimes mere expositioat others it's clearly a narrative tool, by which revelations can later be used to extra dramatic effect, and sometimes mere exposition.

The narrative of Miss Peregrine moves along at a suitable pace.

The movie that unfolds from this premise is at least as funny as the original Deadpool, and better in virtually every other respect: better plot, better villains, a few unexpected narrative swerves, and, yes, at least one genuinely moving sequence.

In the case of Nebraska, while it's no journey to Mt. Doom or Battle Royale, Woody Grant (Bruce Dern)'s mission to get to Lincoln, Nebraska to claim his prize money of one million dollars in any way possible is very much a moving story that uses actors who don't necessarily jump off the screen but are perfect fits for the narrative at hand.

Clunky moments in dialogue and transparent narrative mechanics seem mere quibbles when set against several genuinely moving scenes, leaving the audience with a contented smile at the end.

A layered quasi-thriller narrative, it is at times shocking, horrific, and sadly moving.

The result is a version of Tolstoy's story that moves at a breakneck pace with nary a moment diverted to any point or detail that does not have something to do with the central narrative or thematic content (Even the book's famous opening is missing, because, here, the individual trumps families — happy or unhappy).

HBO Films will premiere The Tale, Jennifer Fox's powerful narrative memoir about her own reckoning with childhood sexual abuse, on May 26th, and Fox joined castmembers Laura Dern, Isabelle Nélisse, Jason Ritter, Ellen Burstyn and Common for a moving panel after Sunday night's AwardsLine screening of the film at LA's Landmark Theatre.

Freshly anointed as the narrative feature winner at the SXSW Grand Jury Awards, Destin Cretton's moving «Short Term 12,» about a group of foster care facility employees and their charges, boasts one of the most believable, talented casts at the festival this year.

The Five - Year Engagement may be Stoller's biggest offender to date as the wonderful performances and great humor are constantly at war with a narrative that struggles to move forward even when it's jumping ahead in time.

Directors Anthony and Joe Russo, who previously helmed Captain America: The Winter Soldier (2014) and Civil War and therefore are quite familiar with the terrain both narrative and aesthetic, keep the proceedings lively and moving at a brisk clip, which makes the two - and - a-half-hour running time feel relatively brisk.

Ten more: S. Craig Zahler's Brawl in Cell Block 99, a violent yarn with an indomitable Vince Vaughn performance; BPM, a moving look at AIDS activists in Paris; Before I Fall, a teen Groundhog Day; Luca Guadagnino's Call Me by Your Name, a lush holiday at an Italian villa; Christopher Nolan's Dunkirk, with its ingenious time - shifting narrative; Alexander Payne's social comedy Downsizing; William Oldroyd's Lady Macbeth, a period piece with bite; the uneven but lively satire The Square; Steven Soderbergh's clever heist picture Logan Lucky; and the Twilight Zone vibe of The Killing of a Sacred Deer.

-- however once the narrative gets moving, the script reveals itself to be quite adept at weaving multiple themes.

At university, I moved away from narrative film for a while and worked on some small looping animations.

«A CHRISTMAS TALE» At first sight, it appears to be as gaudy and haphazard as the celebration it depicts, until the stylistic and narrative chaos settles into something dark, precise and deeply moving.

Some may scoff at it's bloated narrative but I found it deliberate and moving.

At times it feels like you are watching commercials for the real - life characters rather than a narrative that is supposed to move you.

The ladies from Sony Classics don't fare too well this month with Daniela Vega (A Fantastic Woman) stagnant in points despite moving up one and Annette Bening (Film Stars Don't Die in Liverpool), who was working on a fantastic overdue narrative at # 6 last month falling to the bottom of the chart this month with little chance of holding on.

So this generation is actually really good at looking at things, getting a sense of them without ever moving through them in a sequential, narrative way.

While the story grows confusing at times, the only discordant notes are a couple of narratives that focus on fringe characters who appear to exist only to move the story along.

The delight is in Acosta's clever, fresh voice, which moves the narrative at a rollicking pace.

At once informative and entertaining, the fast - moving narrative tells an age - old story about our capacity to be conned.

In particular, she is so skilled at seamlessly shifting between different narrative points of view that readers will often be entirely unaware of these moves unless and until they choose to analyze the story more fully.

Desmond's natural storytelling style easily moves from engaging narrative (at times a touch florid when retelling events he was not present for) to straight reporting.

[Strout's] tender and moving novel should be read slowly, to savor the depths beneath what at first seems a simple story of a mother - daughter reconciliation... Her narrative voice is restrained yet expressive.

I think that's going to enable the commercial sector to move forward, because at the end of the day, unless this becomes a commercially viable way of reading comics and interacting with the narrative, then we're all wasting our time.

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An important part of the gameplay, these letters help you understand your tasks while at the same time moving the narrative of the game forward.

While we've enjoyed seeing out Ezio's last days in last year's Brotherhood and this month's Revelations, we here at Dealspwn feel we've spent enough time in one era and it would be in the franchise's benefit to truly move the narrative forward.

It felt slightly random to end an exhibition with over 140 pieces from various periods with a single work from a given series, but it was somehow another brave move by the curators to finish the narrative at the actual beginning rather than the notorious one.

Artists like Lorraine O'Grady, David Hammons and Senga Nengudi were left out of the narrative of SoHo's heyday, though they did find a home at Linda Goode Bryant's Just Above Midtown gallery, which opened in 1974 on West 57th Street and moved to TriBeCa in 1980.)

, 1976 traces Acconci's early actions and performances, including FOLLOWING PIECE (1969), in which he followed passers - by on the street until they entered private spaces — SHADOW - PLAY (1970), in which he shadowboxed with a bright light shining behind him while moving in front of a wall — OPENINGS (1970), during which a camera focuses on Acconci's stomach as he pulls out his body hair, the film ends when Acconci is hairless — SEEDBED (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead — THE RED TAPES (1976 - 77), a three - part epic that merges video space with filmic space, evolving into complex amalgam of narrative strategies, photographic images, music and spoken language.

Olivier fuses painting and the moving image in tiny animated films which invest small events with magical lyricism and at the same time illuminate the narrative process of painting.

Even though clips move at a wicked pace, a commanding implication of narrative ties the dramatic scenes together.

On looking at the final composition, he realised it created a narrative, as if the viewer moved through the room.

Since first showcasing her video work at her Whitney Museum of American Art retrospective in 2002, Rovner has pioneered the use of the moving image as a non-narrative, non-cinematic medium for the creation of painterly images and installations which, like painting and sculpture, conjure the timeless realities in a way the narrative arts can not.

Therefore we underestimate Saya Woolfalk at our peril, because it is conviction such as hers that can move cultures and shift the meta - narrative.»

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,