Definition, Betydelse & Anagram | Engelska ordet PICTURE'S

Definition av PICTURE'S

1. böjningsform av picture

Exempel på hur man kan använda PICTURE'S i en mening

• The Motion Picture Association film rating system is used in the United States and its territories to rate a motion picture's suitability for certain audiences based on its content.
• Directed by Walter Lang, the picture's screenplay was written by Phoebe Ephron and Henry Ephron, adapted from the 1955 play of the same name by William Marchant.
• "My Shining Hour" (song): Arlen and Mercer's simple and hymn-like wartime ballad, the picture's signature song, is mimed by Joan Leslie (dubbed here by Sally Sweetland) against the backdrop of a band whose instruments are framed with illuminated neon outlines.
• Only in early 1952 did Dickinson finally begin to overpaint the preliminary reds and pinks in which he had worked out the picture's design.
• Something's Not Quite Right, published in 2002 challenges readers to find the out-of-place element in each illustration, with the contrary detail sometimes being the picture's single-word description itself.
• After previewing the film in Hollywood on February 17, 1950two and a half months prior to the feature's national releasethe critic for Variety endorsed the film and drew special attention to the quality of Stanwyck's and Lund's performances and to the overall quality of the motion picture's production values:Lionel Collier of Picturegoer reviewed the film positively.
• The picture's supporting players include Johnny Sheffield as "Boy", Otto Kruger, Joe Sawyer, Robert Lowery and John Dehner in an unbilled role as Prince Ameer.
• Robert Pardi of TV Guide wrote that the filmmakers "deserve applause for the dynamic action scenes seen here", but found fault with the picture's "irritating gung-ho patriotism and its lip-smacking preoccupation with Marcy's abduction into white slavery".
• Although reviews made no mention of the picture, that this is the painting which Degas exhibited under the title of Family Portrait is supported by several pieces of evidence: a critic who later visited Degas in his studio referred to "the admirable Family Portrait of 1867"; in 1881 the painter Jean-Jacques Henner discussed Degas' withdrawal from the Salons because his work was badly hung and ignored as a result, adding "The portrait of his brother-in-law (I believe) and his family is a great work"; and the fact that Degas requested permission at the last minute to retouch his submissions to the 1867 Salon, and that the hasty reworking would account for the picture's later crackling and blackish streaks.
• In addition, his pictures are often recognisable from the use of (1) the incorporation of one or a number of sketches (often uncoloured) around the principal image (what is sometimes referred to as a remarque), and (2) some additional caption, often amusing, to supplement the picture's title and further explain the scene.
• The reviewer for Motography, Genevieve Harris, in her June 10, 1916 examination of Sherlock Holmes describes the film overall as "well produced" but questions the decision to extend the picture's length to nearly two hours, a running time that she contends detrimentally affects the story's pacing and clarity in some parts:.
• But evidence, both internal and external, support Adler's interpretation: the upended rocks do appear to crush the ship, and the depicted rock formations and Watkins Glen, referred to by Dickinson in discussing the picture's man-made structures, both pertain to his native region of western New York state, as does the trapped weasel, based on one he had found in a glen in Sheldrake.
• " Stephanie Zacharek summarized the movie in Time as "a triumph of tone", writing that "Although Eggers is extremely discreet—the things you don't see are more horrifying than those you do—the picture's relentlessness sometimes feels like torment.
• " John DeFore writing for The Hollywood Reporter said: "A by-the-book script and stiff direction fail to milk any suspense from this scenario and, in the absence of thrills, the picture's heavy focus on the long-lasting impact of trauma is suffocating.
• The women flinging up their heels in the picture's center are meant to be wanton and lustful; their skirts rise high above their thighs, yet the revelers seem oblivious to the gazes of male onlookers.

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