Sentences with phrase «viewer expectations»

The film also plays a bit with viewer expectations, involving the tropes of these types of films.

Instead, the unconventional emerges as a powerful statement and his attitude of rebellion becomes a refreshing break from tradition reaching out to alter viewer expectations.

With a giant god like hand, Whedon destroys viewer expectation by carefully crafting the perfect satire film with a wit, intelligence and depth that is often lacking in the films it makes fun of.

Although Drinking Buddies starts out looking like a traditional rom - com, Swanberg quickly subverts viewer expectations, resulting in a film that is romantic but surprisingly devoid of sap, funny without falling back on cheap gags.

The film subtly complicates viewer expectations early on, eschewing clear - cut character rivalries in favor of more complex emotional and social configurations.

Both of the presumed frontrunners feel like challengers: The Shape of Water, with its offbeat fantasy, sudden violence, and, um, interspecies sex; and Three Billboards Outside Ebbing, Missouri, which delights in confounding viewer expectations and has endured controversies about an ill - conceived racial subplot.

However, The Mechanic benefits most, not from its direction or stunts, but from low viewer expectations.

Viewer association may propel the interior spaces and anthropological evidence that inhabit Hughes» canvases, or her milieu may propel viewer expectations with a jolt of the uncanny.

This disorienting juxtaposition upturns viewer expectations by shifting the context of the sights and sounds of the infamous match.

In response to Daniel von Sturmer's solo show: Set Pieces, students from St. Bernard's School, Rotherham, explored viewer expectation and perception through syncing mismatched sound and video.

For the seventh and current iteration of the Andy Warhol Museum's Exposures series [previously, The Glassblock profiled Zhiwan Cheung], Adam Milner's installation Remains plays with relationships — the interplay between objects, the similarities between two personal collections, and the role of the museum in guiding viewer expectation and reaction.

Each of the 7 exhibiting artists takes a candid, probing approach to their chosen medium, unpacking its art historical framework, examining precedent artistic strategies, and subverting viewer expectations.

From the Keatonesque pratfalls of Sharyar Nashat's film Modern Body Comedy, 2006, to Lucy Skaer's filmic portrayal of an encounter with the elderly Surrealist painter Leonora Carrington, Leonora (The Joker), 2006, the language of cinema as the least faithful art form recurs here in the exhibition in the cinematic ability to frame and repeat heightened moments, inverting dramatic tension and revealing illusion and viewer expectations.

Approaching to the topic from various angles, artworks on view respond to unsuccessfulness through different channels, among which are viewer expectation, emotional investment, and risk taking.

Offering a platform to survey the relationship between the artist, the artwork and the audience; failure suggests a study on artistic drive, contextual meaning, and viewer expectation.