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Narrative in sentence

1451 examples of Narrative in a sentence

It felt through most of the film that the characters just helped to push the narrative along.
It has a "close-up" personal quality to the narrative.
However, I think that Director Robert Weide and Screenwriter Peter Straughan might lose some viewers and alienated authentic rom-com material by developing an implausible romantic plot line between Sidney & Alison; even though Team Weidstraughan did formulate an entertaining narrative otherwise.
It is very rare for a film to appeal to viewers of all ages--to children for a fine narrative and a wonderful, colorful production, and, to adults, for a literate script, fine production values, good casting/acting, all bound together with a fine Rozsa score.
Granted, the narrative is certainly melodramatic, but never too silly or trashy.
The latter keeps the narrative moving at a fast clip.
Very few things in life ever made as little sense as the plot and narrative structure of "White Fire", but it sure is a lot of fun to watch.
Despite a tight narrative, Johnnie To's Election feels at times like it was once a longer picture, with many characters and plot strands abandoned or ultimately unresolved.
Johnny Weissmuller plays Tarzan, a mono-syllabic untutored sort unlike Edgar Rice Burroughs' creation; but he is honest, loyal, brave and very courageous, and he needs to be during this narrative.
'Deliverance's narrative is fittingly lean and sinewy, and it is surprising how quickly events unfold from point of establishment, through to crisis, and aftermath.
The main thrust of the narrative arises from a 'homily' spoken by a country priest following the wedding vows of a young cosmopolitan couple from Milan.
Along with Melies, the Lumieres are both the starting point and the point of departure for cinema - with Melies begins narrative fiction, cinema, fantasy, artifice, spectacle; with the Lumieres pure, unadorned, observation.
The narrative affirms the classic image of good versus evil in the form of a struggle of brother against brother.
I am a 'non-traditional' student, and, perhaps for reasons of years-lived or wisdom-accrued, appreciated the slow, reflective pacing of the film's narrative.
The comedy is subtle (mostly), and the camera-work mirrors every little emotional inflection of the narrative.
Its not one of those "gross out" comedies that heavily relies on fart jokes and toilet humor but instead moves at an affable pace and you will be easily attached to the unfolding narrative.
In the second installment, Harris exploites the struggle between Gary and Beaver in a novice attempt to make a narrative out of the original documentary.
Not only does her film exhibit a very tight narrative, but the hyper-stylized and extreme characters strangely render human emotion in a very real light.
No, the film did not investigate both "sides" of the story, but then surely one film in favour of Chavez against the tides of propaganda against him should be seen as an attempt to balance out the narrative overall (especially given A. the history of CIA involvement in Latin America in fermenting civil unrest - google National Security Archive and B. the coverage in that country and elsewhere of the clearly faked scenes of Chavez supporters shooting non-existent opponents).
the cat and mouse chase to reveal the killer was nicely added 2/3rds of the way through the film to add some faster pacing and to also add to the narrative element of the film.
It it only because the narrative here is possibly slightly too elliptical for it's own good.
It's quite hard to see how a sound version could have been created, since it is shot with pure silent technique, long wordless sweeps of narrative without a single intertitle -- save for a few disconcerting sequences where Louise Brooks, playing a French typist, is quite visibly speaking in English...
The story is of little importance anyway, with the film succeeding on a cinematic level, not a narrative one.
All criticisms seemed to concentrate on the lack of action and narrative.
The writer/director is brilliant with the narrative parts and the use of creative and interesting camera angles and perspectives which all add to the gripping hold it will have on you.
Denis makes a quantum leap in this film, an orgy of gorgeous cinematography, elliptical editing and willfully obscure narrative events that feels strange and acts even stranger.
Una giornata particolare is a film which has made brilliant use of closed spaces.It is in these dull,empty spaces that the audience sees the emotional turmoil and boisterous outbursts of Ettore Scola's two leading characters.Marcello Mastroianni and Sophia Loren play two frustrated individuals who decide to come together for some brief moments of their listless lives.It is the element of sadness associated with the narrative that makes us believe that people will take sides with characters close to them.All men would really feel sorry for Sophia Loren's character.All women would surely cry their hearts out at Marcello Mastroianni's existential plight.Disguised sexualities are also one of the key issues of this somber,poignant film.Most of the characters grapple with issues related to their own sexualities.Una giornata particolare cannot be termed as a pro gay film although it has been nicely depicted that a homosexual chap mixes well with women.This is a film for which Italian director Ettore Scola has crafted a fairly good mix of fact and fiction.His idea is to show how the arrival of Hitler changed destinies of ordinary Italian folks.A word about the courageous personnage played magnificently by great Marcello Mastroianni.He acts as a real man who does not beg for pity.He happily accepts his fate and readies himself to face the worst time of his short yet meaningful life.A true masterpiece of cinema !!!
It follows a narrative that is more fluid and interesting than anything I have seen lately in a Hollywood release.
The almost Proustian narrative flow of thought to thought, the very spontaneity in the script will have you glued to the screen, waiting anxiously to see how it all works out in the end.
Later Lewis productions like GUN CRAZY (1949) and THE BIG COMBO (1955), despite the expanded scope of their narrative structure, continued to rely upon deft, lucid camera work and effective low-key lighting.
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