Sentences with phrase «what viewers feel»

It was offering them precisely what they wanted, like Netflix figuring out what viewers feel like watching next.

Lewitt manipulates not just what the viewer sees, but what the viewer feels — on a very physical level.

Not exact matches

If that's being the host of a TV show, if that's being a chef, if that's being an expert, if that's being a musician or if you're an expert at whatever it is that you feel passionate about, the only way the people will trust you, identify with you and connect with you as an audience and as a viewer is if they believe what you're selling.»

Mixed Reality gives video viewers a feel of what Virtual Reality is all about and this Assetto Corsa race at old - school Monza is a great example of it.

The post-birth euphoria that the new moms experience in the film is palpable through the screen and allows viewers to see some of what they might be missing should they feel pressured to undergo a cascade of medical interventions at the hands of their doctors.

When I started my site three years ago it was originally called Bella and Darcy, and while I loved this name I felt it didn't give my viewers a clear idea of what the purpose of the site was.

Any irritation viewers might feel about the absurd accent Franco adopted when playing Tommy dissipates as we realise this is exactly what the real Tommy sounded like.

Most documentaries can feel boring or drawn out, too dry and objective to entice viewers without a deliberate interest in what's being documented.

The «Masterpiece» adaptation manages to do what previous versions didn't execute nearly as well: transport the viewer back to that time and yet still feel fresh and modern with the clarity of its message.

Torres and Blasi wrap up the movie's central conflict so rapidly and so carelessly that it feels like an afterthought — as if they're eager to give the audience its happy ending, hoping against hope that viewers won't stop to think about what that ending really means.

«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.

The Academy Award - winning actor notes how the helmer kept insisting that the drama feel as though it's a real slice of life, as he doesn't want viewers to be able to guess what was going to happen next in the story.

Ramsay doesn't offer the viewer much for free, and at times the film feels as if it's been cut too close to the bone, leaving you to unpick what you can from the brief clues that flash past intermittently.

Whether your protagonist is a good or bad person, a hero or villain, viewers connect to stories by being able to feel what the character is feeling or relating to it in some form or another.

It induces a genuine, shivery thrill at the prospect of a horrific event imagined three times over — the hero's appreciation of his predicament is eclipsed only by his horror at his lover's ordeal, and both of those theoretical atrocities are overshadowed in the mind of the viewer, who is surely imagining how it would feel to actually live through what's depicted on screen.

As the passion disappears into thin air, the viewer can't help but seriously contemplate what it must be like for an actor and actress to have to turn their feelings on and off to perform an intimate love scene.

And feeling safe is what Zemeckis and partner Bob Gale definitely did NOT want the viewer to feel.

I wanted the viewer to feel trapped and lost, so they could not tell what they were seeing.

The film feels it was made specifically for Greek viewers, as all of the allegorical elements feel poignant and intentional, but not knowing anything about contemporary Greek society leaves you with the feeling of «this means something; I just don't know what it is.»

It's also a buddy movie that uses visual phallic puns to hint wickedly at what might have only crossed the minds of viewers of previous buddy movies, spelling out the ambiguity of their relationship with a funny routine involving an overheard conversation about feeling each other's breasts.

What keeps those tropes from being rote is that Peele uses the modes of horror to make viewers feel what daily life is like for real black men and woWhat keeps those tropes from being rote is that Peele uses the modes of horror to make viewers feel what daily life is like for real black men and wowhat daily life is like for real black men and women.

Initially, during the film's pre-title preface the viewer is deftly launched into what feels like a keyed up Sirkian melodrama ---- imagine, if you will, Douglas Sirk did some... Read more»

It does start strong, but as more information comes out as to the whos and whys of what's going on, the film's weaknesses begin to show, and it is nearly all undone by two epilogue scenes that feel tacked - on in order to give the viewers the semblance of a happy ending.

The viewer is left to decide for themselves what Drew's relationship with his dad was like and this make the film feel incomplete.

In Season 1, Donald Glover wanted viewers to feel what it's like to be black, while in Season 2, his brother Stephen Glover emphasized that the show would attempt to capture the essence of life in Atlanta.

To save you, dear viewer, from what feels like...

Although, plenty of what the viewer sees feels familiar to Harry Potter fans — photos in newspapers which are constantly moving — the New York period setting, filled with dingy alleyways and glamorous Jazz Age speakeasys, is consistently exciting to explore.

If you had bothered to even do the least bit of research, you would've found that Greengrass has mentioned in numerous interviews that the kinetic shots are done for the purpose of bringing the viewer into the action, making them feel as if they are part of what's occuring on the film.

Of course, there are a few inaccuracies and some embellishments, but none of them will detract most viewers from properly viewing, understanding and gaining a great feeling for what happened on that day.

Director James McTeigue («V for Vendetta») at least allows viewers to feel superior to the characters; he has fashioned a film where seemingly anything yelled by the audience has more thought behind it than what is happening on screen.

We aren't sure what that something is, but we know something is out there, In The Sixth Sense that «something» revealed made it a great film in the eyes of many viewers, earning it an Academy Award nomination for Best Picture, but I feel that it is only because people who saw the film had no idea there was a «something», and were genuinely unprepared for the bottom dropping out of the story in the end.

They achieve what the game doesn't and actually cause viewers to feel some type of instinctive emotion of intrigue or disgust.

I tell my viewers honestly how I feel and what I like and dislike about the games.

These earliest attempts at mixing real - life video footage with virtual reality are the best way to show people what it truly feels like to be inside of a virtual space so we're letting streamers and content creators easily share VR footage that's clear, understandable, and ready for mainstream viewers.

my intention in art is less about what a finished piece makes the viewer see and more about what it makes one feel.

«As a film director, I feel it is my job to always be telling the viewer what to think about an image or moment,» says photographer and director John Jencks.

By tracking the performance of each story you can start to get a feel for what your viewers are enjoying and what they aren't sticking around to watch.

Abstract art requires the viewer to contemplate study and ask themselves «What am I feeling?»

The fine details etched into his work open new doors of perception for the viewer, who feels compelled to explore her surroundings anew, re-assessing what is visible and what is hidden.

Through her images, Lichtenstein provokes the viewer to confront their own reactions to these hypersexualized images - whether it be feelings of shock, disgust, power, vulnerability, shame or lust - asking the viewer to decide what they are comfortable with, and why?

In this exclusive video, Laurie Anderson presents her prizewinning virtual reality work from 2017: «I wanted to see what it would be like to travel through stories, to make the viewer feel free,» the legendary multimedia artist says.

Feeling cut off, vulnerable and perplexed, the viewer begins to mirror what he or she witnesses.»

But what is strangest about them is how surprisingly natural it feels to a viewer to see both a car door and lipstick in the same object.

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.

I suspect he intends the ambiguity, in what could represent either controlled substances or ordinary medical practices, to evoke the shock of transgression and the dread viewers may feel confronted with their likely future.

Their bright and synthetic - feeling palette is similar to Grant's, while their ambiguity allows viewers to see what they want in the twisted colorful forms, projecting themselves into the work — much like what Grant asks from her paintings, only with greater success.

After a while, viewers felt like they knew what to expect, and they were pretty much right.

As a viewer, one can't help but feel slightly left out of what sometimes feels like the artist's personal joke.

Beginning from a place of deep personal experience, Clayborn, Shavers, and Showers - Cruser invite viewers to experience what it feels like to be told you are nonconsumable.

Kara continuously insisted that her assignment was to shock viewers straight out of their comfort zones and even go as far as make them angry, once remarking the following: I make art for anyone who forgot what it feels like to put up a fight.