Sentences with phrase «viewers question whether»

But it was his delivery that made viewers question whether he understood how Facebook operates and generates revenue.

Not exact matches

«We collect an assortment of data, from how long a viewer stayed in the webinar to how many links they clicked, whether they took surveys when prompted, questions they asked, widgets they opened, and so on,» says Matt Ley, The Streaming Network President.

Here is where I have an issue and Shiller can take some of the heat for this; the viewer hears how expensive we are by historical standards and understandably so questions whether now is really a great time to be investing in «pricey» stocks.

The question is whether when Balls unleashes hell it will be, like Maximus, an organised and destructive force that overwhelms his opponents in political battle or whether it'll just be a poorly executed cha cha cha that has viewers watching through their fingers.

Ironically, the viewer's question he was asked was about whether the rate would rise to # 7.00, which the chancellor indicated a week later he wants to see.

One of the Cates even wonders whether it is the intention of the artist to bore the viewer — and responses to that question may vary depending on one's tolerance for theoretical discussions of art and / or one's interest in the chameleonic qualities of the project's star.

The big question was whether screenwriters Hampton Fancher (maybe every writer should begin as a flamenco dancer) and Michael Green would be able to create a script that would attract new viewers while honoring the original film and source Philip K Dick novel, «Do Androids Dream of Electric Sheep?»

One of the questions viewers have had in anticipation of the movie is whether this is a prequel.

More to the point, what Spielberg probably doesn't trust is the viewer's intelligence and humanity, meaning the real question is whether he thinks the kind of people who would go to a movie about Abraham Lincoln are morons.

We hear none of the planning that leads to that encounter, and Vicky disappears from The Infiltrator after that scene, leaving unanswered any questions the viewer may have about why the team risked involving a civilian in such a delicate operation, or whether introducing Roberto to Bob's actual aunt might not make it easier for the cartel to discover Bob's real identity.

Whether there has been enough time passed for angry American viewers to accept their disgraced former leader was human is another concern, but there can be no question as to the quality of the performances and the success of the film.

The central questions are whether effective television viewers also tend to be good readers, and whether preschool comprehension skills that are developed in the context of television viewing relate to later reading achievement.

Next, the panel debates whether the U.S. should make the pickup truck the «national vehicle», and they try to help two viewers with tire questions.

Whether it is the precarious tilt of a ship's masthead or an icy reflection in the water, the viewer is forced to question what is seen and by extension what they ever see.

Whether it is the precarious tilt of a ship's masthead or a horse's frozen jump, the viewer is forced to question what is seen and by extension what they ever see.

And as a viewer immersed in his storytelling, one can not help but question whether the specifics come from the artist's mind or straight from the history books.

The viewer is asked to engage with and question whether her hyper - sexualized women are depicted solely to satisfy an insatiable male - dominated gaze, or alternatively the complex nature of women and their desire to enjoy their sexuality, enjoy their bodies and their desire to be desirable.

The big questions — how far to abstract, and whether or not the viewer is meant to naturalise («river», «promontory», «meadow»)-- are addressed obliquely by putting greater emphasis on gesture and process and working in more lavish colours.

Johns's flat, graphic images of common objects such as targets and flags prompt viewers to question the essential nature of representation and whether these pictures are really paintings or simply new iterations of the items themselves.

Whether the works conjure memories of iconic fugitives, such as Patty Hearst and Angela Davis, or incorporate loaded words, like safety and fear, viewers are prompted to question their assumptions about criminality and contemplate how the circulation of images influences their ideas...

The viewer is asked to engage with and question whether Lichtenstein's hyper - sexualized women are depicted solely to satisfy an insatiable male - dominated gaze or alternatively, to satisfy the complex nature of women and their desire to be desirable and enjoy their own sexuality and bodies.

Questioning whether photography's role of documenting facts persuades a viewer to truthfully consider the complex history that precedes the reality depicted in a photograph, the exhibition explores the difference between the decisive moment for photography and that of history.

This tends to encourage a state of contemplative meditation in the viewer, and to create uncertainty about perception; in terms of Frank Stella's famous quote, you may question whether «what you see» is actually what you are seeing.

Others frame packs of lost boys running amok amidst a blur of neon bars and go - go clubs, provoking the viewer to question their place in the setting, whether they are fixtures of the back - alley debauchery, or simply mischievous children playing in the streets.

Whether questioning consumerist impulses, describing torture, or lamenting death and disease, Jenny Holzer's use of language provokes a response in the viewer.

Rather than attempting a definitive history, the publication posits an alternative approach to the myriad questions and debates associated with representation, presenting its technological history as inextricable from the social history of media, and staging this through the complex and multivalent relationship between the photographic image and the body, whether it be the body of the viewer, or that of the depicted.

Playing with the conceit of image - making, perceptions are questioned as the viewer considers whether these repainted scenes represent a parallel universe, two different moments in time or a trick of the mind.

Each of the artists works with an economy of means to test the limits of performance — for the performer, the viewer, and the participant — provoking us to question how our own positions, whether still or in motion, connect to larger social and political concerns.

Whether questioning consumerist impulses, describing torture, or lamenting death and disease, Jenny Holzer's use of language provokes a critical response in the viewer.

The ultimate question is whether the viewers connect with the message.

Questions hovered over the Twitch Chat, asking whether Dr. DisRespect would surpass 400,000 concurrent viewers to beat League of Legends caster Tyler1's own return to Twitch.