Sentences with phrase «work as a viewer»

There is a voyeuristic aspect to Senior's work as viewers become self - consciously aware of the action of their own gaze.

Not exact matches

Discovery, like many traditional media companies, is working to get more of its content online as viewers increasingly go to their phones or other mobile devices to view programs.

Things as bizarre as «BoJack» or melancholy as «Derek» would never sustain a broad enough audience for network TV, but they work online where all interested viewers can find the content on their own time.

But it worked: the first year, 638,000 viewers were watching as a puppy named Riley had the bowl's first «Unsportsmanlike Delay of Game penalty» (he peed on the field).

Filmmaker Steven Schardt debuted Auto at Tribeca's Virtual Arcade, where viewers got to sit alongside Musay, an Ethiopian immigrant who can't find work as a traditional driver and must act as the safety driver for an automated vehicle.

When working in broadcast news, whether as on - air talent or behind the camera as a producer, you have an incredible amount of power to determine the type of information shared with viewers.

If you expect your AdWords AMP pages to appear in organic search results, I would ensure that all AMP functionality works as expected when delivered from the Google AMP cache inside the Google Viewer: input your AMP article in the Structured Data Testing Tool and click Preview link (trust me this is will save you time).

Hermeneutics was more consonant with Tillich's enterprise not only because it began its career as biblical interpretation, but because it put the reader / viewer back into the work's meaning.

In similar fashion Whitehead's theory of symbolic reference implies that Picasso, as a master of visual experience, knows how to control the symbolic medium of the canvas to create desired visual effects on the viewers of his work.

«I'm working to highlight the wrestlers as true combat athletes in the eyes of the viewers, and show the intensity and severity of these fights.»

The rationale is that viewers spend longer looking at those which defy their expectations, presumably as they try to work out what's going on.

For years, Howard Altschule worked as a meteorologist for television station WNYT in Albany, New York, where each night he told viewers whether the next day would bring precipitation and misery.

At each stop the viewer has the opportunity to meet the people under the lab coats as Kamen and Colan ask the researchers to explain the methodologies, failures and breakthroughs that have defined their work.

I really appreciate my viewers and will be working to get more posts up (and more frequently as well!!)

As the matchmaker, Ray is most excited for viewers to see what it takes to find a match so they can appreciate the process of working with a matchmaker.

Vice President of casual sex personals for sale, personals, services, local girls Escorts is one website, before the best dating apps for classified advertisements range of 4 viewers look How Dating site is Working as well rewarded asiancall the daily classifieds (I don't forget your new food, alcohol consumption, With current location.

Sharp - eyed viewers should watch for parodies of and winking nods to earlier Aardman works, as well as «The Lion King,» «Lady and the Tramp» and other animated classics.

past work as a photographer explains the stunning picturesque landscapes (the snowy fields of Sweden and the winding roads of hilly Italy), which keeps the viewer's interest from lagging during the down times when the story stagnates and when there are too many long closeups of a brooding Clooney instead of any action.

Viewers may relate to the feeling of being trapped during this strained and tedious throwback, which the writer - director Mickey Keating has framed as a hat tip to the 1970s work of Sam Peckinpah and Peter Watkins, but which lands well south of John Waters in its try - anything - for - a-reaction pretensions.

The episodic bent of the film's first half - much of the narrative seems to follow the central characters as they fight one fire after another - does test the viewer's patience to a fairly demonstrable degree, and it's clear that Backdraft, by and large, works best when focused on the rivalry and relationship between the central figures (and how it ultimately affects their respective work).

Review I have seen this movie twice, probably the third romantic movie that compelled me to do that, and the reasons are quite simple: It's probably impossible that anyone can't relate to young Josh Hutcherson's character, an 11 year old with a normal middle class life and problems (parents initiating divorce); that its surprise by the rediscovery of a young classmate (Charley Ray) initially as an unexpected friend and later as something else... The well crafted work of director Mark Levin is based on the mutual discovery of all these feelings (mostly new and uncontrolled) that evolved in Josh's character and in another particular viewer: you.

It's a promising setup that's employed to curiously (and consistently) uninvolving effect by director Stanley Kubrick, as the filmmaker, working from a script cowritten with Terry Southern and Peter George, proves unable to wholeheartedly capture the viewer's interest right from the get - go - with the movie suffering from a stagy, talky vibe that grows more and more problematic as time progresses.

But Schwimmer does his best TV work yet in Feed the Beast, breaking viewers» hearts just as Tommy's has been broken.

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.

As ever, the director has a real gift at working with actors; Richard Pryor's dramatic chops surprised viewers of Schrader's «Blue Collar» back in 1978, and Cedric the Entertainer's solid turn here should do likewise.

Writer / director Alex Garland delivers a striking and impressively captivating opening stretch that instantly captures the viewer's attention and interest, with the movie's compelling atmosphere heightened by Portman's stirring work as the conflicted, grieving central character (and it's clear, too, that Portman's costars fare just as well, though Leigh's bizarrely ambivalent take on her character is questionable at best).

In the years that followed, Cranston became an increasingly familiar face to television and film viewers, and in addition to offering vocal work for the short - lived animated television series Clerks, he would contribute to such family - friendly fare as» T was the Night and The Santa Claus Brothers.

well, I would like to make a comment, with of course no harsh bashing or one sided opinionated blather, However, I find it quite simply funny how one could watch a movie and with a couple of sentences and elegant word - ology, thing they can grasp what it takes to compose a work of art and creativity into a 250 page manuscript and then production material for viewers such as myself and yours truly.

Patient viewers have to work hard to engage with the film and sustain their interest as the steady pace continues, and the running time closes in on two hours

Bob Hoskins turns up as Old Fezziwig, pulling a CGI - assisted double - somersault, and causing the more nostalgia - prone viewer to ponder the fact that special effects seemed so much more special 20 or so years ago, when Hoskins worked his socks off for Zemeckis on Who Framed Roger Rabbit?

The abundant tropes remind the viewer of those featured in vehicles favored by the likes of Steve McQueen, Charles Bronson, and James Coburn, men's men who made movies for men that weren't even likely to interest boys with a taste for action, as the work of the next generation of action stars (Stallone, Schwarzenegger, and Norris» other slightly younger Expendables cast mates) would.

Admittedly, this viewer knew nothing of Ms. Ferguson prior to the film, as her best known work as come on TV's «The White Queen».

Travis works perfectly as the guy that we can all relate to: the nervous teen, unlucky in love, drawing in some new spectators (probably the right kind, judging by the wacky humor that some older viewers may simply not get).

If your work entails programming or anything related to the nuts and bolts of digital technology, you're unlikely to encounter anything in this brisk feature that you haven't contemplated at length; but if you spend a good portion of your waking life online, as increasing numbers of viewers do, but take it for granted, you may appreciate the way Herzog comes into the the subject: from a borderline - layman's perspective, wry and curious.

There is, as such, little doubt that one's interest in V.I. Warshawski is almost entirely dependent on one's tolerance for Turner's work, as the film is otherwise devoid of elements designed to capture and sustain the viewer's ongoing attention.

There are any number of readings available here, from Katniss and Peeta's relationship mirroring generations of Hollywood stars (closeted and otherwise) with fake publicity marriages, to the oppression of the working classes by the greedy 1 %, to the vagaries and dangers of instant fame, to bread and circuses, and «Catching Fire» allows viewers to dig into or avoid the metaphors as much as they want.

Things improve slightly as scripters Elizabeth Hunter and Arlene Gibbs begin to stress plot developments of a decidedly soapy nature, with the salacious happenings - eg one character discovers that her aunt is actually her mom, another suspects her husband of having an affair, etc, etc - buoying the viewer's interest and ensuring that Jumping the Broom subsequently comes off as a passable (if consistently unspectacular) piece of work.

This ultimately ensures that Divergent wears down / exhausts the viewer to an increasingly distressing extent, and it does, as a result, become more and more difficult to work up any interest in the protagonist's continuing exploits - which proves especially disastrous once the action - packed third act rolls around (ie it's become awfully difficult to wholeheartedly care about the outcome of any of this).

First - time director McMurray, who worked as an associate producer on Fruitvale Station, does a decent job of staging the action and maintaining viewer attention on the straight - line story.

It's certainly not difficult to see why All Good Things has been languishing on the shelf for a couple of years, as the movie primarily comes off as a tedious, thoroughly pointless piece of work that boasts few attributes designed to capture the viewer's interest.

It is, of course, not surprising to note that the sentimental elements that crop up towards the end fall completely flat, as the viewer has absolutely nothing invested in these characters or their happiness - with the end result a nigh worthless piece of work that manages to waste a fairly impressive cast (ie it takes some effort to drain Allen of his natural charisma).

As is frequently the case, the initial premise and the early set - up of bizarre and terrifying events to come work a lot better than the denouement, even if Garland has at least been shrewd enough to keep the viewer guessing about the exact meaning of his weird evolutionary fable (it's adapted from Jeff Vandermeer's novel).

This focus may, like myself, leave some viewers disappointed that the marvellous work of Waking Life gets very little discussion yet it's probably his most thought provoking film and shadows the fact that, to begin with, Linklater was a philosopher that just happened to choose celluloid as the medium in which to express himself.

I'd wager that a poll of exiting audience members unfamiliar with the original work would yield a much higher percentage of viewers who might regard what they've just seen as a drama with moments of comedy, rather than the ribald farce most who are familiar with the play know it to be.

Fans of the Richler work and of Paul Giamatti, who would go on to garner a Golden Globe for his fine performance, in general should find more to love than the common viewer, as the character of Barney himself is flawed and not particularly fun to watch as he goes through bouts of alcoholism, depression, philandering and narcissism that has you questioning just how such lovely women could ever fall for him.

Focusing on an earlier president, the HBO take on John Adams was a remarkable work that benefited greatly because of its scope as an episodic mini-series - this allowed for moments of contemplation, for legislative flourish, and for detailed negotiations to unfold over time, making their success all the more cathartic for the viewer.

Unfortunately for us as viewers, while some may welcome the lighter tone, Witt should have tried harder to make the story work, rather than give up, which might have been too tall an order for the longtime second unit director (Apocalypse remains his only film as the man at the helm).

Viewers who remember Teller from his recent work in Project X and 21 and Over may see the young actor as a one - trick pony, again playing the likeable screw up with an alcohol dependency.

Viewers may initially feel as though they're hearing the world's tiniest violin concerto as Rachel bemoans the fact that her highly paid, prestigious work bores her, but Bell, whose comic timing and Diane - Keaton - meets - Buster - Keaton charm ought to have secured her a bigger acting gig by now, doesn't condescend to her character's malaise.

Working with a strategized network narrative — one that stands out from the many in Bordwell's samples, the year 2000 film had appeared as less all - encompassing and oddly mapped out, but after the screening I felt that device was no less disciplined as it engages the viewer by revealing some information, dispelling some, while omitting others — those countless fades to black are welcome beats for analysis.