Sentences with phrase «viewer in a dialogue»

Cropper and Morris create sculptures designed to engage viewers in a dialogue with the piece and its environment.

The mixture of control and abandon we witness in the present work involves the viewer in a dialogue between the known and the unknown, the recognizable and the alien, in a manner that may be said to shed light on its subtitle (In and Out of the Darkness Face 43.01).

Leeson's newest art installation «VertiGhost» uses surveillance technologies and 3D printing to place viewers in dialogue with Alfred Hitchcock's masterpiece VERTIGO (1958).

Ultimately, the artist seeks to engage the viewer in a dialogue on class and privilege based on a repertoire of familiar images.»

Not exact matches

According to Darren Barefoot of the Vancouver - based Internet market research firm Capulet Communications, rather than asking viewers to submit personal video testimonials (the site shows only four entrants in a contest to win $ 300 in Nicorette products), he suggests using blogs and other social networking tools to open up dialogue and?

The Northwestern study said most teenagers found the show was a positive contributor to an honest mental - health and trauma - centric dialogue, but these efforts show (thankfully) the program won't ignore the viewers not in that majority (or not in the study's target demographic of adolescents or young - adult viewers).

They point to other destructive aspects of television that have been stressed by television researchers and theorists; the privatization of experience at the expense of family and social interaction and rela - tionships; (33) the promotion of fear as the appropriate attitude to life: (34) television's cultural levelling effects which blur local, regional, and national differences and impose a distorted and primarily free - enterprise, competitive and capitalistic picture of events and their significance; (35) television's suppression of social dialogue; (36) its distorted and exploitative presentation of certain social groups: (37) the increasing alienation felt by most viewers in relation to this central means of social communication; (38) and its negative effects on the development of the full range of human potential.

Astrid has co-authored Adoption in the Movies, which takes the reader on a guided tour of 27 movies and documentaries that are «dripping with adoption» and asks questions that encourage the viewer to engage in ongoing dialogue and discussion.

Movies or television shows don't start out with simple dialogue or narrative structures and steadily build in complexity depending on the aptitude of individual viewers.

Although his dialogue in the film is sparce, the viewer gains a greater sense of the appreciation he had for his father's efforts to «build» him into a man.

And, without doubt, viewers will feel this film's big ideas piling on top of each other, in the heavy events that thrust racial quandaries front and center, and in the zippy - academia dialogue that implies Dawson's Creek was also an inspiration.

It's clear immediately that Foley has his work cut out for him in terms of capturing the viewer's interest, as Perfect Stranger suffers from a disastrously unconvincing opening half hour that's reflected in everything from the forced - sounding dialogue to the over-the-top performances to the laughable portrayal of Rowena's online chat sessions.

And while I enjoyed this in theaters, I also like watching on DVD so I can turn on the captions — that way I can catch all of the dialogue that goes on in this film which is made in a way that the viewer seems to be eavesdropping on household happenings.

From the offset, Lanthimos knocks the viewer off kilter with the absurdist dialogue and the way in which he instructs his actors to deliver their lines.

In many ways, it's a fable without dialogue, taking viewers on a curious excursion.

There is also tons of snarky dialogue and condescending put - downs, some clever, others not so much, but McDonagh can see the good in people and works to make that available to the viewer.

The dialogue between Portman and Billy Crudup (Spotlight), as «the journalist» (as he is listed in the credits), certainly lacks dimension, however, treating the viewer to a series of declaratory statements about history and its interpretation that would not pass muster in a high - school paper.

There's true wisdom in the available option to watch the film with not only an intermittent little - red - pill icon that branches the viewer to different portions of a 30 - minute interview with Murch (wherein he discusses the specific tricks and techniques), but also his genius work (along with Lalo Schifrin's score) isolated from the dialogue track — in 5.1, to boot.

Reynor has a strong screen presence and can hold the attention of the viewer in long scenes without dialogue or a manipulating score.

The tone of the proceedings ranges from chaotic to frenetic to anarchic: Non-U.K. viewers may be additionally exhausted by the prevalence of rapid - fire dialogue in a range of custard - thick Scottish brogues, disguising many of the screenplay's richest, raunchiest one - liners.

It skillfully balances comedy and terror in a satisfying way and is able to keep the viewer engaged despite the limited setting and heavy dialogue.

Midnight in Paris should be an entertaining for any viewer, but if you aren't generally a fan of Allen's dialogue you will probably have the same problems with this movie as with his others.

For first time viewers, the feeling of being lost in the narrative, of swags of information being rapidly spewed out in dialogue and an at times bewildering parade of characters and shadowy entities, may be disconcerting.

To Nolan, dialogue mixed down into the sound effects and music is a way to make viewers take in everything that's happening in the film, rather than fixating only on what people are saying.

CHICAGO — You know those amateur porns with no - name actors that use cheesy dialogue in between the sex scenes those viewers simply want?

Yet, just as in Louis Malle's My Dinner with Andre, the dialogue, especially Sands» closing anecdote, evokes images in the minds of viewers upon recall.

The two leading performances are remarkable, and ensure this is a venture worth indulging in, and while there's a lack of authenticity to some of the dialogue, it ticks along at a fast pace and ensures the viewer remains compelled.

Where this disc truly distinguishes itself — indeed, excels — is in its DTS - HD MA presentation of the 5.1 remix, which better balances the dialogue, beefs up the bottom end, and facilitates a more transparent soundstage: now Chucky skitters around the viewer in seamless pans instead of occasionally popping up like a whack - a-mole in the rear channels.

Some viewers will find the pace frustrating, but watching Zahler luxuriate in his dialogue - driven character moments is as rewarding as all the single - take bone snapping that brings the film home.

His first shorts Heroes Are Immortal (90) and Straight Ahead Until Morning (94), both set in small towns by night, show his interest in juxtaposing image and text, assaulting the viewer with torrents of speech: the first a dialogue between two young men (one played by Guiraudie) who wait night after night for a third to arrive, the other the monologue of a watchman caught up in the repetitive, futile pursuit of a wall painter.

In the movie's design, Faulkner's novel functions chiefly as a source of imagery and atmosphere; a good chunk of the dialogue is unintelligible (it's doubtful that even viewers raised in the Deep South will be able to understand more than a third of what Tim Blake Nelson says), which creates the impression that the characters are as textural as the swaying trees in the backgrounIn the movie's design, Faulkner's novel functions chiefly as a source of imagery and atmosphere; a good chunk of the dialogue is unintelligible (it's doubtful that even viewers raised in the Deep South will be able to understand more than a third of what Tim Blake Nelson says), which creates the impression that the characters are as textural as the swaying trees in the backgrounin the Deep South will be able to understand more than a third of what Tim Blake Nelson says), which creates the impression that the characters are as textural as the swaying trees in the backgrounin the background.

In the third film, At World's End, there is a lot of exposition in the scenes driven by dialogue - as - interrogation and it barrels at the viewer without pause, leading many to think the film is incomprehensible, and dismissiblIn the third film, At World's End, there is a lot of exposition in the scenes driven by dialogue - as - interrogation and it barrels at the viewer without pause, leading many to think the film is incomprehensible, and dismissiblin the scenes driven by dialogue - as - interrogation and it barrels at the viewer without pause, leading many to think the film is incomprehensible, and dismissible.

The WCS Live panel discussion will also be streamed live online, where viewers may follow along with the panel discussion and join in the dialogue.

This is not the case for all the work, and two pieces, radically different in form and composition, move beyond the intricacies of internal formal dialogue to effectively engage with the viewer, the gallery space, and larger questions about art's transformational power.

He explores sculpture in terms of an ongoing dialogue of actions and reactions between viewers and objects in any given exhibition space.

The vibrant colour contrasts that underlie the golden serenity of Severini's Paysage à Civray (Vienne)(1908), displayed on the wall facing the entrance to the exhibition, engage the viewer immediately in the dialogue between classicism and abstraction that the exhibition seeks to promote.

These paintings often glow from within and seem almost alive, breathing, interacting with the viewer in silent dialogue, creating a sense of the sacred in the interaction, reminiscent of the I - Thou relationship described by renowned theologian Martin Buber.

Jansaunoi, whose performance outraged viewers and sparked a dialogue on the role of performance art in Thai culture, was a part - time female go - go dancer, who was paid to go on the famed Thai show in order to increase the number of viewers.

In this dialogue between the past and present the viewer realizes several things: 1) that the history of art is inextricably political, 2) that human behavior repeats itself no matter how tragic or brutal, and 3) that this cycle of repetition must be broken so personal and societal progress can be made.

In her deeply distinctive pictorial language, and sometimes very large - scale formats, the rational and emotional enter into a dialogue, both sensually seducing and intellectually stimulating viewers.

Calculation and emotion enter into a dialogue that both sensually seduces and intellectually stimulates the viewer through her deeply original style of painting in occasionally very large - format works.

This taut push and pull of anxiety and desire creates a dialogue with the viewer, as if each painting begins a thought that trails off in an ellipsis, inviting us into the work to complete the thought.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

«Double Down» is a group show featuring fifteen artists whose included works deal with associations of reciprocal relationship, establishing intrinsic dialogues within one, or between multiple complementary and oppositional objects, putting the viewer in a different relationship to the work.

Instead of an immediate reaction (dialogue) between the viewer and the artwork, here the viewer, in a sense, becomes witness or voyeur to the relationship.

In this larger scale, the dialogue between viewer and the art itself is intensified in form and impacIn this larger scale, the dialogue between viewer and the art itself is intensified in form and impacin form and impact.

I am interested in the complex intellectual and emotional dialogue that can occur between a viewer and the artwork - in particular, the conversation that takes place afterwards, when the viewer is left to process the interaction.

I'm a contemporary visual artist interested in the high life and lowlifes of everyday culture working with public spaces to stimulate a dialogue between non-traditional art audiences and the incidental viewer.

This exhibition pushes the boundaries for viewers accustomed to finding meaning in visual images and for artists who use words as inspiration, commentary, design and poetic dialogue.

In his work This Situation (2007), for instance, the performers strike choreographed poses lifted from a wide range of art historical sources but quickly break into wide - ranging dialogues (with each other as well as with the viewers of the piece) inspired by unattributed quotations that the performers recite from memory.