Sentences with phrase «while moving the viewer»

Excellent quasidocumentary, which sends shivers down the spine while moving the viewer to ponder.

Not exact matches

The inclusion of a handful of compelling moments within the film's second half - ie one of the soldiers moves higher and higher on the mountain to hopefully get a radio signal - are rendered moot by the otherwise uninvolving, bland atmosphere, while the needlessly padded - out final stretch, which just seems to go on forever, is sure to test the resolve of even the most patient viewer (and this is to say nothing of the seemingly endless closing credits).

While these portrayals are hardly based on reality, the action sequences may leave younger viewers excited about replicating kung fu moves at home.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

Not all viewers will accept this arguably sociopathic move, but it's a tidy meet - cute with an enjoyably farcical payoff as Nancy is forced to maintain her own false identity while feigning knowledge of his.

An impressionistic barrage of sexually frustrated prisoners grasping for each other and at themselves, their musculature bathed in chiaroscuro light as they lovingly move their hands down their bodies while they're watched by drooling, baton - wielding guards, Un chant d'amour is an all - consuming work of art that aims to liberate the viewer through erotic fantasy.

The 90 - second film, created as part of Honda's partnership with Britain's Channel 4, takes viewers through each stage of the filmmaking process, including storyboarding, illustration, filming and animation, moving at a blink - and - you'll - miss - it pace while managing to showcase the Civic, Civic Type R and CR - V cars, as well as the Africa Twin motorcycle.

The leap forward in time is a daring move, especially since the kids that watched the first movie haven't grown up anywhere near as much as Hiccup and his friends have, yet everything is kept relatable for the younger viewers while the change gives older fans even more to enjoy.

While they are called paintings, these wall - mounted works are composed of layers of laser - cut birch wood ply and MDF, milled, perforated and painted so that evocations — of colour, form and image — seem to shift and dissolve as the viewer moves in front of them.

Some may turn to the past while others may express their expectations of the future, and though the viewer may see something beautiful, moving, or original in the artist's work, there is a often a hidden weight of what motivated the maker to produce the piece.

What resulted remained true to painting's basic materials while turning its traditionally flat surface into a field of topographical undulations that, interacting with light, appear to change a great deal as the viewer moves around them.

The hues in Articulation Portfolio II Folder 28 (B) work in concert to give the flat surface the distinct appearance of a tunnel or other 3 - dimensional space; while the form on the left appears to move towards the viewer, the form on the right seems to lead directly into the canvas.

While packing up the museum's American collection for a $ 24 million expansion project, he kept 50 things out, then moved them into smaller, much more domestic spaces that transform the viewer's experience.

The photographs act as a moving portrait, weaving the viewer through the mindset of each subject, while audio of the interviews play overhead.

But to my complete surprise, they became instead these absorptive bodies because while they were moving through space, the viewers saw themselves completely reflected in them.

Moving fluidly between media, Nawa's work explores issues of science and digital culture while challenging viewers» sensory experiences.

The initial performance ended Saturday, but glo artists will appear in several of what Stallings calls, «Movement Choirs,» inviting viewers to participate in simple movements — walking, running, skipping, etc. — while moving around the museum's grounds.

While moving in and out of time, the viewer observes everything from bird's - eye view.

Moving fluidly between different media, Nawa's work explores themes of science and digital culture while challenging viewers» sensory experiences.

The Unswept Floors series offers actual environments upon or across which one moves and interacts, while the works in Tabula Rasa both engage and confront the viewer in private moments of contemplation.

Haynie is a performance artist with literal and figurative interest in the ways music can move a person, while Woodruff's sound installation brings the viewer back to the exhibition's origin: music and it's oh - so - colorful culture.

While the works can suggest an alternate position for the viewer's body moving by the picture, or, further, literally repel vision through optical static, they ultimately affirm their own autonomy.

Sounds of bullets and vague colors dominate the screen reminiscent of war footage but as the camera moves away from the wall it's already facing you realize you are in the interior of an experiment: a chamber in a busy place where the viewers are not let in and are controlling while watching an attack of color from the outside.

James Turrell's Skyscapes, rectangular cuts into the ceilings of spaces that frame a patch of the sky moving above, encourage viewers to meditate on the beauty of the heavens and use light from to provide insight into changing natural forces, while Ólafur Elíasson uses blue to probe the phenomenological effects of the sky, for instance enveloping entire gallery spaces in blue.

While the room moves slowly between the 2nd and 3rd floors, viewers have the opportunity to be immersed within the installation.

The cones fill the gallery space while allowing the viewer to move around and through them.

In the current exhibition, the viewer experiences the artist's studio in the ground floor gallery, while the upstairs presentation moves the work to a place beyond its origin.

The viewer's vision is not impeded which means this technology can be used while moving around.

In the demonstration, it was clear that sound objects moved over, under, around and beside the viewer (directionality and separation) while filling the room with clear sounds.

Produced by the award - winning CWK Network, each video is presented in a fast - moving documentary style that packs a lot of information while keeping the viewer's attention.