Sentences with phrase «viewers questioning what»

Other times it's more unsettling with moments that might leave viewers questioning what they saw.

These decisions lead to transformed environments, odd encounters and fantasy - filled elements that leave the viewer questioning what is really going on.

With subtle materials (twigs, leaves, mirrors, and wisps of metal) and a lightness of touch, Raetz creates anamorphic objects and images that play with perception, making his viewers question what they see and how they look at the world.

Not exact matches

As growing numbers of TV watchers either cut the cord entirely or opt for what cable providers like to call «skinny bundles,» ESPN's iron grip on viewers and subscribers is being questioned in a way it never has in the past.

One question that has been puzzling viewers is what plan of Darth Vader's Kylo Ren, the new bad guy, is trying to carry out.

Several viewers and readers have written in to note that the whole Carl Paladino e-mail scandal raises an interesting question: What about Andrew Cuomo's on - line communication?

As we get closer to that date, we will ask viewers at home what questions they want us to ask the candidates.

As we get closer to those dates, we will ask viewers at home what questions you want us to ask the candidates.

Wilson is a filmmaker who wants viewers to question what they see and hear in the media, and he's willing to travel thousands of miles in order to highlight why you too should remain skeptical about Moore's motivations as a filmmaker.

Though the movie could have easily crossed the line into purely mocking its subjects, Franco and company maintain an underlying empathy for the film's characters, offering key breaks from the comedy that force viewers to question what they've been chuckling at all along, allowing the film and Wiseau himself to ultimately channel sarcastic laughter into genuine love.

The question remains for the viewer, what choice have you made already, or will you make in the future?

Stewart plays out the film as if it were a traditional «haunted house» film, but because we already know it is about alien life, we merely watch the characters go through predictable motions until the story catches up with what we already surmise, and the only things keeping viewers reeled in are basic questions such as, «why are they doing this?»

I loved Avengers: Infinity Wars because it managed to pack 10 years worth of Marvel storytelling into a cohesive, funny, emotional, and overwhelming experience that demands multiple viewings and makes viewers ask many questions about what happens next.

«Drinking Buddies,» Joe Swanberg's deceivingly jolly, sharply alert romantic comedy, doesn't just pay homage to those confusing unspoken feelings, but engages in that very opaqueness itself, plunging viewers into the same kind of what's - really - going - on - here questions that its young, attractive protagonists are facing.

What it does is raise questions instead, suggesting that the story goes on in the thoughts of the viewer, a true sign of respect between artist and audience.

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.

Even when all is told and everything plays out in organic progression, the viewer is left with more questions than answers, at least question from what is outwardly told.

The movie goes exactly where you expect, the only real question being what sort of craziness McCarthy, Falcone and Mallory will unleash upon the viewer as they make their way along this well - worn path.

As the viewer regards two separate paintings by 16th century Dutch painter Pieter Aertsen, titled The Vegetable Seller (1576) and A Meat Stall with the Holy Family Giving Alms (1551) respectively, each cut to a different fragment of the paintings» surfaces raises questions: what do the artworks depict; what is placed in their foregrounds; what is relegated to the background; and, ultimately, what meanings can be excavated from the artworks» layers and represented objects?

Though the sequence contains an aggressive artificiality, with special effects that fly in the face of naturalism, the cinematography denies the viewer the space to question what she sees.

The Johnny Depp Quiz A cool, little page that asks the viewer a series of questions and then determines what Depp character they're most like.

Accepting that Soderbergh is right (though his most recent film, Magic Mike, certainly indicates some evolution on the issue) means asking some tricky questions about what it means to viewers, to filmmakers, and to actors when the flesh comes out.

First, though, a few words about the non-time-travel-related question most likely to be on viewers» lips: What the hell happened to Joseph Gordon - Levitt's face?

Then, the panel discusses Ford's decision to end production of its sedan models and they answer a viewer question about what happens to cars after MotorWeek tests them.

Telephone lines and social media were open to take viewer comments from Medicare recipients to the question: «What is your experience with the Medicare program?»

In this weeks video podcast we discuss the possibly new Playstation and Xbox console news, some of our favourite Black Friday deals, PES 2016 December Update, PS + and Games for Gold December freebies, your viewer questions, plus what we've been playing.

Robert Storr recently wrote an article on the interesting paintings of Rick Briggs where he commented that paintings should initiate a viewer's interaction by creating the question: «What's that?»

Questioning and playing with what is in front and what is behind, what is above and below - using the situation and value of light and the situation of the viewer, drawing attention to what is seen and what was unseen.

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.

Yang's work creates environments that lead the viewer to question what he or she perceives in them: calm or destruction, timelessness or change, peace or threat?

The giant umbrella or light bulb is immediately recognised by the viewer and yet the size, monochromatic palette, and flatness of the sculpture undermines the function and meaning of each object, urging the viewer to question what is really before him or her.

Jenkins's work is generally performance - based, and he often challenges the viewer by questioning what it means to be an artist; indeed, he recently gave an artist's talk which included employing hecklers to shout him down.

The portraits presented in this exhibition hint at, question, and finally augment the viewer's understanding of what might constitute the subject of a portrait.

Collectively, the works invite us to investigate the question of how we, as viewers, approach art and what kind of catalysts are used to shape a sense of Self in relation to the Other.

They invite the viewer to question the source — photograph or painting — and therefore the very notion of how we identify what we see.

The exhibition title itself, open for interpretation, posits the question: What do you, the viewer, believe is the state of humanity today?

It feels removed from the materialism of most residential homes, yet prompts viewers to question their own ethical and moral codes of what is fundamentally important.

To return to the question about the viewer as transmitter and the artwork as receiver, it's more to do with, how do you optimise artworks, and how do you evaluate what's a good or bad composition?

In each media, De Wit's work causes the viewer to question what exists physically, and what is a translation, representation, or reproduction.

«Using data is a tool for conversation,» Viviano says, explaining that turning information into sculpture will help viewers ask questions about what makes a city successful.

Reflected in aluminum panels, the viewer becomes part of the work and is invited to question what he or she sees.

The Steps Table invites viewers to experiment with one's own body in relation to furniture, exploring the limits of what kind of objects can be meaningfully understood as a table, and questioning commonly accepted concept of such furniture.

My exploration of the «hidden truths» that exist in the landscape allows the viewer to question what the landscape is communicating to us.»

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.

And when we consider the ways in which where we come from impacts our lives — the availability of fair housing, access to food and education, income equality — we are drawn back into one of Gaines» key questions for the viewer: What does freedom really mean?

As Hammond's work recontextualizes her found images through the marriage of the image and the materials, the question of what is fact and what is fiction crosses the viewer, and a new narrative is generated.

Martin's work often raises questions about what it means to be «touched» by cinema and alternates playfully between luring the viewer through sensuous images and lush archetypes, and pushing them back into an awareness of artifice.

His installations question (and force the viewer to question) how curators shape interpretations of historical truth, artistic value, and the language of display — and what kinds of biases our cultural institutions express.

Moments in time are de-contextualized and imbue the figures» actions with multiple meanings, challenging viewers to question what they see.