Sentences with phrase «of audience identification»

But almost nobody, at least so far, appears to be acknowledging how radically subversive this film is — not so much in terms of its politics (though its worldview is cynical enough to alienate many humanist - minded viewers), but in the way it blithely torpedoes the most basic rules of audience identification.

But this provocative idea is quickly lost to muddy motivations (Zeus was always a flip - flopper, but just try to follow his train of thought here) and tiresome action that suffers from a lack of audience identification in a hero who sorta wants to save the day, as long as it doesn't mean taking any favors from Dad.

Alfred Hitchcock's 1960 masterpiece blends a brutal manipulation of audience identification and an incredibly dense, allusive visual style to create the most morally unsettling film ever made.

The film slides into its situation in a clever, fresh way, and the balance of wit and horror is well maintained throughout, though Sayles's decision to divide up the protagonist's chores among four main characters costs him something in the intensity of audience identification.

Not exact matches

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For example, both employ some of the devices Suleiman discusses for creating an identification between the audience and either the narrator or characters in the story.

His response was that these narratives are an extension of the audience's own sexual exploration and having knowledge that these actors are heterosexual automatically puts up a brick wall limiting just how far this identification can go.

Directed by Steven Spielberg, one of America's most accomplished modern - era directors, the film is both technically and emotionally powerful, rudely propelling its audience into the sheer nightmare of the war arena in order to shock it out of its customarily passive role and engender some level of emotional identification with its key characters.

As Michael Atkinson has written for Criterion, «Without its iconic precedent, there would have been no Humphrey Bogart, no John Garfield, no Robert Mitchum, no Randolph Scott, no Jean - Paul Belmondo (or Breathless or Pierrot le fou), no Jean - Pierre Melville or Alain Delon, no Steve McQueen...» Soon after Pépé, Renoir's antiwar masterpiece Grand Illusion hit, and it was an even bigger smash, cementing Gabin's superstar status; in this and all of his most successful roles (La bête humaine, Le jour se lève), Gabin played some form of working - class social outcast, and he always provided audiences with a strong point of identification.

In its dogged rejection of easy audience identification points and its gradual untethering from logic, The Alchemist Cookbook only offers a platform for Potrykus to push his authorial quirks further.

In a different, perhaps more box - office - savvy film, Kai would be a Western audience identification figure, but in 47 Ronin, he's the most mysterious character, an outsider devoted to social codes of selflessness and rank, content to receive no respect from the other characters.

And Chief Willoughby, played with that familiar Southern twinkle and drawl by Woody Harrelson, turns out to be a decent man trying his best — and he also happens to be dying of cancer, which is just one way that McDonagh complicates the audience's rooting interest, its points of identification.

Ruzowitzky uses camera angles designed to force audience identification with the prisoners, and one scene late in the film follows suit with subjective audio effects — a very flat soundmix, with muffled dialogue — to put you inside Sol's head, his senses going dull after he witnesses the death of another inmate.

Benicio Del Toro, a confessed horror geek, was the prime mover behind The Wolfman; with producer Rick Yorn (The Aviator, Gangs of New York) he managed to sell Universal on the idea of an old - school monster movie that would keep the digital effects to a minimum and instead focus on audience identification with the star and his makeup.

Without a high level of mystical intrigue and unnerving eeriness fuelling the story, the plot fails to ignite on a level that would allow for audience investment and identification.

The lack of functional identification characters, which bring the audience into the story, is — and always has been — The Phantom Menace, and the entire prequel trilogy's, signature problem.

The male here is the weaker of the two, which positions every male in the audience, in short, against the grain of their own vicarious identification.

Every step requires in - depth market analysis, as well as identification of the right audiences.

Kelley shares her expertise with the audience to assist shelters with the identification of animals and situations where behavior modification has the opportunity to produce positive results.

Love Story — a seven - channel installation by Candice Breitz — interrogates the mechanics of identification and the conditions under which empathy is produced, prompting viewers to consider: Why is it that the same audiences that are driven to tears by fictional blockbusters, remain affectless in the face of actual human suffering?

In focusing on the family trauma at the heart of The Brood, Breitz pays tribute to Cronenberg's ability to draw audiences into psychological identification with his characters, suggestively adding the voices of her own family to a palimpsest that already folds Cronenberg's family narrative into that of the fictional family in The Brood.

The result of this technique encourages the audience to identify imagery through mnemonic associations rather than personalised systems of visual identification.

She also has provided technical assistance and conducted training for a variety of different audiences on such topics as evaluation design, data analysis, and using data for program improvement, with a special focus on identification and measurement of child and family outcomes.