Sentences with phrase «narrative structure of the film»

I love the narrative structure of the film, telling two different stories about the parents of a boy who is supposedly killed - in - action, and the story of the boy on assignment at a remote military outpost (where nothing happens all day).

It sounds a lot like theater exercises, almost more so than the traditional narrative structure of film.

During the past decade, Los Angeles - based artist Doug Aitken has created innovative video art by fracturing the narrative structures of his films across multi-screen environments.

Not exact matches

In a neat piece of narrative structuring on Tanovic's part, this David - and - Goliath story is told partially through the eyes of a film crew making a documentary on Ayan's astonishing findings.

Kirk is a natural born storyteller and Bühler an Mariani have a keen sense of the film's narrative structure, allowing the strangeness to steadily escalate.

It's just as clear, however, that the film's incongruously languid pace stands as an almost insurmountable obstacle virtually from the get - go, as filmmakers Jon Hurwitz and Hayden Schlossberg have employed an episodic structure that becomes more and more problematic as the thin narrative unfolds - with the ongoing emphasis on subplots of a decidedly underwhelming nature (eg Jim's continuing efforts at resisting the advances of a sultry neighbor) compounding the movie's increasingly lackluster atmosphere.

Formulaic, cheesy with its fluff and histrionics, - to the point of superficializing a sense of narrative weight, and inconsistent with its tone, pacing and overall structure, this film falls as a pretty forgettable war drama, flavored up by the decent visual style, worthy subject matter, lively direction and endearing performances which secure Jesse Hibbs» «To Hell and Back» as an almost thoroughly entertaining and sometimes effective, if ultimately underwhelming account of Audie Murphy's struggles as a farm boy - turned - military man.

Now because of the structure of the film manipulative narrative Diana comes across as a one dimensional Gollum.

Rather than the typical inciting incident of a film's typical narrative structure, Yang's screenplay builds its story organically, painting a portrait of flawed, tender humans.

After the painfully one - sided sexual adventure of the first film, in which she met Christian and was brutally exposed to his odd habits, and after Christian's even nastier control - freakishness in the ill - conceived «50 Shades Darker,» Ana is at last able to demand to hold the reins from time to time — a narrative turn that manages to frame their marriage as an empowering structure for women: now enclosed in the gilded cage of their union, Ana can pull on the rope that Christian had tied around her neck.

Though it does have its own version of a three - act structure, this film is not a conventional narrative that will fit into a tidy box and it's not a story so much as an experience.

Cinematographer Lachlan Milne's sweeping, colorful panoramas and a chapter - based narrative structure gives Hunt for the Wilderpeople the feel of a storybook fable, but thanks to the warm - hearted dynamic between Ricky and Hec, even the film's most whimsical moments carry a sense of real underlying pain: Both of these characters are outsiders ultimately looking for a home to call their own.

The end result is a head - spinner to be sure — not only does it not make any sense in the traditional definition of the word, it doesn't even attempt to do so — and those who demand that their films offer up some kind of conventional narrative structure will no doubt throw up their hands and leave early on in the proceedings.

Owing more to sports drama pacing than you are anticipating (the film is co-produced by ESPN's film division), the film is so vibrantly alive as to never succumb to the sluggish pitfalls of overly familiar narrative structures.

To head Jay off at the pass, narrative film and documentary film play in different ballparks in terms of story structure, buget, industry standard residuals.

Two years ago Noah Baumbach charmed Toronto audiences with Frances Ha, although fans of the whimsical free - form narrative in his last film might be disappointed with the concise structure and fastened script found in his latest film While We're...

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).

With a stellar cast including Mila Kunis, Zach Braff, and Jessica Chastain, the film sacrifices narrative structure for the sake of...

But Out 1 was one such film, an unforgivingly experimental work of serpentine narrative structures and conspiratorial cul - de-sacs that demanded the repeat viewings and deep immersion a home video release could afford.

But this narrative clarity is just as attributable to the editing of Jeffrey Ford and Matthew Schmidt, as well as the secret weapon directors Anthony and Joe Russo have always brought to their Marvel films: They understand intuitively how to structure a big blockbuster movie like a season of a TV show.

In terms of narrative structure Argo is essentially a standard genre film that also happens to be extremely well made.

Narrative structure is one of the steadiest elements of the Potter films.

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.

Using traditional research methods (reading old books) and non-traditional film processes (boiling old books) Gatten's films trace the contours of private lives and public histories, combining philosophy, biography, and poetry with experiments in cinematic forms and narrative structures.

The film's time structure is splintered into shards of past and present, which is probably just as well — a strictly narrative chronology would make this wallow seem even sloggier.

After filching every detail of the original film's structure for the first sequel, he's now more or less abandoned the titular conceit, keeping the road - movie dynamics and sidelining of Justin Bartha's useless Doug but ditching the retrospective detective narrative and get - to - the - wedding finale for something more straightforward.

Spun in the rolling yarn of a book the nuance might make for an entertaining read, but in a film it lacks the narrative structure and shape, not to mention the lack of interesting characters, that makes for a truly compelling viewing.

With an approach that emphasises internal feelings and character journeys, over more obvious things like narrative structure and story arcs, this Brazilian - German film challenges audiences to explore a series of important issues in ways movies...

The narrative structure will appeal to cinema lovers of all levels; this is the kind of film you wish you could watch the for the first time over and over again.

I must admit I haven't read the Max Brooks book that the film is based on, but I understand from friends who have that the tweaks in voice and narrative structure still result in a blast of a film.

Subverting the very elements in which the narrative is structured upon and supplanting it with an anaemic love story brings a certain morality to the film that is absent in the novel and it is doubtful that Taylor Johnson's film adaptation of Fifty Shades of Grey will satisfy even its most ardent fans.

Whilst the characters on screen navigate the class dynamics of colonial life; choosing to adopt certain characteristics of their European colonisers in order to advance professionally and socially; the film itself reflects a growing trend in mainstream cinema of dealing with African themes using traditional Western narrative structures.

There isn't a great deal of narrative as such: the film is structured largely as a series of conversational encounters between Sinan and various people whose attitudes test the limits of his callow understanding of the world.

The flashback structure gives extra shape not only to his character, but also to the fim's structure — it preserves a kind of symmetry in the narrative that would be unbalanced if the stuff at Monaco were appended as a coda, though it also defuses what could have been a source of tension in the body of the film, namely the question of whether Sol would make it out of the camp alive.

Experimental film often eschews sequential narrative structure in favour of evoking an emotional journey; the viewer is meant to be engaged by the aesthetic or imagery rather than by the characters or story.

His two follow - up films, House of Flying Daggers and Curse of the Golden Flower are as well, but where the former luxuriates in the irrational melodrama of tragic romance and the latter is consumed by the emptiness at the heart of its own baroque decadence, there's a reticence to Hero, a by - product of its episodic structure, narrative instability and potentially repellent politics.

Both films share many motifs and themes as well as other elements, such as non-linear narrative structure, the extensive use of the color red, and interpretations of vintage songs.

While The Image film lacks graphic penetration, there's no doubt Radley Metzger used the film to test the possibility that a fusion of erotica, structured narrative, and hardcore elements could create a new and successful hybrid.

I would be cheating my own rules for this annual exercise if I were to crown Howards End as my film of the year - I have in fact seen it many, many times before and loved it for a long time (although never before was I able to enjoy the finesse of its narrative structure, and admire its sumptuous mise - en - scene and art direction - actually delivered on a shoestring budget - on a big screen).

That it messes with structure and medium is nothing new, but as with the casting of Downey Jr. and Monaghan as grammar - school classmates (even as it's commenting on Hollywood's treatment of women, it's guilty of it), as it's fucking with the way we look at film and understand narratives, it's indulging in the topsy - turvy, smart - alecky vogue of Guy Ritchie / Christopher Nolan chic.

With a collage of interviews with real - life survivors following the end of the film, it makes a strange shift from narrative feature to an almost documentary - like structure that just feels misplaced.

His narrative structure inhibited an emotionally thorough attachment to the characters, but thanks to its outstanding soundtrack and a trio of rock - solid performances from its leads, the film is still a solid depiction of a time where glitter and gold was in, and hearing hard rock aliens on the radio was almost commonplace.

It's not exactly a story you'd think would lend itself to musical staging, but Minnelli, who pretty much invented the structure of narrative musical storytelling with Meet Me In St Louis, has not lost his touch even in this, his penultimate film, as the numbers seamlessly ingratiate themselves into the plot.

He added about 25 pages, developing the characters and increasing the suspense through an expansion of the film's unexpected narrative structure.

Unfortunately, even though this film possesses a wonderful example of retroactive narrative structure in noir, it is almost completely ignored in Tyrer's text.

Typical of films of the New Wave, there is a disavowal of traditional narrative structures revolving around meaning and pleasure in Igla.

Escape From Los Angeles (1996), Vampires (1998) and Ghosts From Mars (2001) are horror and science fiction films, but at their core they encompass the narrative construction and mythological structure of the westerns directed by John Ford, Sergio Leone and his much admired Howard Hawks.

But as the film goes on, a narrative starts to form, one that chronicles with heartbreaking detail the sorts of dilemmas that poor parents and their children face in America, and the broken systems that try to add structure to impossible situations.

The black - and - white film is uneven in its narrative structure, but passionate about its message of inclusion without turning heavy - handed.

In terms of narrative structure, the previous Spielberg film that Lincoln ends up most resembling is Close Encounters of the Third Kind (1977), which while a more consistently entertaining film still provided a dramatic change in pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that long.