Sentences with phrase «of emotional narrative»

Precision might seem like a harsh, unemotional descriptor for admittedly dreamy works, but Akunyili Crosby's paintings thrive upon a scaffolding of order and structure, where fixed compositions allow layers of emotional narrative to surface unhindered, uninterrupted.

Cinematographer Joshua James Richards portrays these landscapes, these faces with a subtle, surprise beauty that matches Lee's pacing of his emotional narrative.

Not exact matches

Particular attention is given to the kinds of content that is communicated through such narratives (cognitive, social and emotional, information processing skills, implicit messages, and modes of learning), and to the processes and potential of learning from television and film.

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.

Craddock, too, in Overhearing the Gospel (1978), endorsed «narrative» sermons — not that narrative should replace logic, or that sermons consist only of stories, but that the sermon has «the scope that ties it to the life of a larger community» and touches «intellectual or emotional or volitional» concerns while «conveying the sense of movement from one place to another» and «thinking alongside the hearers.»

And the French playwright Dorimon penned a version in which Juan treats his own father so callously that the old man dies from emotional shock, which may be how the element of parricide entered the standard narrative.

In an age in which emotional narratives often trump facts, the polar bear became the icon of global warming hysteria.

A generation of audiences reared on television is used to animation, emotional appeal, kinesthetic participation, narrative and dramatic structure, and skillful use of an «audiovisual» language.

Semety... I wasn't using the story to illustrate whether he was a «good person»... he may not have been, but if Jesus approved of his response, then it was obviously the «right» response and therefore good.Jesus appears to be giving credit where credit is due.Likewise, we call a familiar story «The Parable of the Good Samaratin», not The Parable of the Not - That - Good Samaritan.The gospel narrative wdn't have the same emotional effect if we cdn't recognize and «identify with the goodness of the hero.»

The bad thing about hookup culture, or really the anti-culture beneath it, is that it might suck a decade or two of your life into a smithereens of physical and emotional novelties upon which no intelligible or humanly compelling narrative can be imposed.

I'm tempted to launch into a whole feminist analysis of how a female figure must always be sacrificed (or sacrifice herself) in order for the male hero to succeed in his quest, but my reaction to such narratives has taken on a different kind of emotional resonance now that I have a son.

However willfully obscured the narrative may be, the emotional truth of every moment, in the moment is always piercingly clear and punishingly accessible.

Keenly observed and laced with humor, Larry Gross» narrative has the kind of emotional power that derives from accumulation of detail and realistic dialogue.

Yet, what I found instead were a few great moments in an otherwise choppy narrative with a distinct lack of emotional connection (amongst most of the characters, and between the characters and the audience).

To their credit, the creative team has retained the handmade look and unruly spirit of Maurice Sendak's bedtime fable; to their discredit, they haven't added enough narrative or emotional dimension to make it an effective movie.

Despite the nightmarish subject matter of a disappearing child, the execution here doesn't get too disturbing or emotional (compared with the TV miniseries «I Know My First Name Is Steven,» which had stuck with me for a long time not only because of its being based on a true story but also because its narrative actually depicted the horrors the vanished child was going through while his parents helplessly searched for him - this story doesn't follow Oliver after he's gone.)

If «Sugar» is one clear standout in what looks like a weak and uneven year for narrative features at Sundance, Lance Hammer's debut «Ballast» is the true critic's darling, a work of minimalist technique and emotional generosity.

The camera stares remorselessly as she cries in her son's bed, or as she watches video of a family vacation — the narrative barely moves, but Kruger keeps us riveted with every emotional turn.

Although their spectacular clashes provide most of the movie's visual thrills, the escalating conflict between George and Davis remains the principal narrative dynamic, as Davis attempts to leverage not only his scientific training, but also his emotional reserves to deal with George's toxic rage.

Stanley Kubrick shuns common narrative crutches such as voice - over narration or back - glancing exposition in favor of a strict antiseptic license that necessarily utilizes classical music from the likes of Johann Strauss to serve as an inner - connecting emotional aural fabric upon which the filmmaker balances mesmerizing outer - space sequences that have been copied ad nauseam ever since.

While not a particularly novel narrative concept, Pellington uses the screenplay from NYC indie wunderkind Alex Ross Perry (Listen Up, Philip) to help collect quite the impressive ensemble of actors - including Jon Hamm, Ellen Burstyn and Catherine Keener - to play out various vignettes that revolve around intense emotional trauma.

This feature length narrative film follows the emotional and psychological journey of a young, black, gay artist as he discovers the hidden legacies of the gay and lesbian subcultures within the Harlem Renaissance.

Though carefully rendered from a historical perspective, this powerful account of female friendship and bonding under the most cruel conditions lacks the narrative focus and dramatic shapeliness to generate emotional excitement.

Beyond that masterful conjunction of dialogue, narrative, and performance, there is Haneke's supremely honed, refined style to maximize the film's emotional power.

The ongoing absence of momentum within the narrative ensures that Agora becomes more and more tedious as it unfolds, with the tragic conclusion subsequently unable to pack the emotional punch that Amenábar is clearly striving for - thus cementing the movie's place as a misguided and utterly forgettable piece of work.

Su Rynard's feature, with its episodic overview of various interconnected issues around the globe, lacks the unifying emotional and narrative involvement of the best nature documentaries.

Witherspoon's walkabout is punishing physically, but never as remotely emotionally affecting as any of the survival narratives that dominated 2012 (even «Gravity» carried more emotional weight and that's not saying a lot).

While Avengers: Infinity War attempts to balance so many characters and give them compelling narratives, very few of the emotional beats stick their landing.

Many critics felt that, due to lack of genuine conviction, Spielberg failed to give Walker's folk tale a narrative drive or emotional push, resulting in an overly fractured saga, devoid of the pop - folk religiosity that served as the glue that held the episodic book together.

In a series that relies so heavily on the emotional turmoil of its characters, not being able to see that on the faces of its numerous denizens removes you from its narrative.

Gone is the first film's svelte singularity of purpose, where world - building served up grace notes that accentuated or relieved narrative and emotional drive.

Some of the film's most emotional moments are unintentionally funny, but these are far outweighed by the sense of mystery (and dread) which hangs over the entire narrative.

Refn's latest film, Only God Forgives, reunites him with Drive's star, Ryan Gosling, but it moves even further away from traditional narrative and into a near abstract, near hallucinogenic, near nihilistic subversion of traditional narrative and with it, the usual visceral, emotional, and intellectual pleasures associated with that form.

Rather than make the films more efficient by cutting out all that's unnecessary, they make the films more simplistic by ripping all the emotional and narrative complexity out of the stories.

The only emotional resonance comes with the closing credits, as photos and archival footage of the real - life Line Found are presented and we are reminded of the tragedy that should have permeated Sean McNamara's cheesy narrative.

Despite these shortfalls, the film does successfully manage to explore some interesting themes of diplomacy and leadership along the way, and even though it could be argued that the narrative itself is bland and unimaginative, barely moving from its starting point to its conclusion, the weight, intensity and emotional journey Caesar and his comrades evoke, more than make up for its few short comings.

Ego's relationship with Star - Lord forms one of the emotional cruxes of the film while his goal, assimilating the rest of the universe into himself, makes up most of the actual narrative.

At its core, this mutually - assured destruction is a truism, but the film's approach to it finds a strange poetry in its simplicity, commenting only in the broader strokes but giving its audience a god's - eye view of how the cycle plays out and, in doing so, maximizing the emotional impact of its narrative.

Giving nothing for the audience to grasp onto or connect with is always a risky strategy especially in a film with such a simple narrative and although our protagonist has one redeemable quality, being a loving family man, it is only when Kuklinski's world starts to collapse around him that we are shown little pieces of reason, logic and humanity as he becomes emotional, desperate, abusive, and even panicky.

The trailer hit several different emotional notes in terms of the narrative used by director Patty Jenkins, indicating along the way that it could well be Warner Bros» most balanced DC Films outing to date in terms of character depth, humor and, of course, over-the-top action.

The strong characterizations are aided by the overall narrative featured in Tales of Hearts — which, true to its name, tells a bit more of a personal, emotional tale than you'd expect from the series.

He is a master conductor who plays scenes like symphonies of feelings, continuing long past the narrative point has been established to express the emotional intensity of the characters and situations, and to add moments of pure grace to the mighty drama.

The film streamlines that narrative, excising much of Ronit's New York life, downplaying (not always for the better) the life of the Orthodox community in favor of Ronit's emotional recoil.

Attempting to strike a balance between all four, Taylor - Johnson focuses on the development of the emotional relationship between the protagonists rather than an exploration into the world of sadomasochism, which steers the source material's narrative.

The bleak and confusing narrative vaguely touches on issues of grief for emotional impact, but it's the silly playfulness of the film and Cusack's dedication to it that make 1408 work on its own limited terms.

In an attempt to possibly avoid the faith - based film curse, its dubious ideologies and a fear of alienating cynical audiences, Captive bolsters the emotional relationship between a psychotic murderer and drug addict, the crucial religious connotations within the narrative, subdued and prosaic.

Mistress America, however, lacks the emotional pull of While We're Young; it's a looser but more disposable entertainment, and while Gerwig and Baumbach remain masters at penning hilarious bon mots, they've failed to supply their joke - machine narrative with the kind of prickly, complicated characters that occupy the director's best work.

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.

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.

The film concludes in a more conventional manner, perhaps, than might be expected, in that it's a flight to freedom — or maybe a fool's errand — but remains gripping and tense, balancing suspense and narrative drive with emotional entanglement and an unerring sense of dread.