Learned by Reading
In Wikipedia:
Music, whether symphonic or jazz, traditional or avant – garde, tonal or dissonant, is always the soul of a film’s dramatic narrative.
(Parse)
(S1 (S (NP (NP (NN Music)) (, ,)
(SBAR (IN whether)
(S (ADJP (JJ symphonic) (CC or) (NN jazz) (, ,) (JJ traditional) (CC or) (JJ avant) (: -) (JJ garde) (, ,) (JJ tonal) (CC or) (JJ dissonant))))
(, ,))
(VP (AUX is) (ADVP (RB always))
(NP (NP (DT the) (NN soul))
(PP (IN of)
(NP (NP (DT a) (NN film) (POS 's)) (JJ dramatic) (NN narrative)))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Bruce’s part to convey the unreality an acid – addled mind and further the narrative of his film.
(Parse)
(S1 (FRAG (NP (NP (NNP Bruce) (POS 's)) (NN part)
(S (VP (TO to)
(VP (VB convey)
(NP (DT the) (NN unreality))
(NP (DT an) (NN acid)))
(: -)
(NP (JJ addled) (NN mind)) (CC and) (ADVP (RB further))
(NP (NP (DT the) (NN narrative))
(PP (IN of)
(NP (PRP$ his) (NN film))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
This was relatively sporadic, as we would uncover new people who fit into the narrative of the film.
(Parse)
(S1 (S (NP (DT This))
(VP (AUX was)
(ADJP (RB relatively) (JJ sporadic)) (, ,)
(SBAR (IN as)
(S (NP (PRP we))
(VP (MD would)
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(NP (NP (JJ new) (NNS people))
(SBAR (WHNP (WP who))
(S (VP (VBP fit)
(PP (IN into)
(NP (NP (DT the) (NN narrative))
(PP (IN of)
(NP (DT the) (NN film)))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
The almost wailing jazz tune becomes increasingly familiar, and aids the visual cues in communicating the dire situation of the film’s narrative.
(Parse)
(S1 (S (NP (DT The)
(ADJP (RB almost) (VBG wailing)) (NN jazz) (NN tune))
(VP (VP (VBZ becomes)
(ADJP (RB increasingly) (JJ familiar)))
(, ,) (CC and)
(VP (VBZ aids)
(NP (DT the) (JJ visual) (NNS cues))
(PP (IN in)
(S (VP (VBG communicating)
(NP (NP (DT the) (JJ dire) (NN situation))
(PP (IN of)
(NP (NP (DT the) (NN film) (POS 's)) (NN narrative)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Part of the narrative of the film is a woman washing dishes who answers her cell phone and leaves the water running while she talks.
(Parse)
(S1 (S (NP (NP (NN Part))
(PP (IN of)
(NP (NP (DT the) (NN narrative))
(PP (IN of)
(NP (DT the) (NN film)))
(VP (AUX is)
(NP (NP (DT a) (NN woman))
(VP (VBG washing)
(NP (NNS dishes)))
(SBAR (WHNP (WP who))
(S (VP (VP (VBZ answers)
(NP (PRP$ her) (NN cell) (NN phone)))
(CC and)
(VP (VBZ leaves)
(NP (DT the) (NN water) (NN running))
(SBAR (IN while)
(S (NP (PRP she))
(VP (VBZ talks))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
I typically find more formally experimental films, the work of modernist directors, films that create aesthetic distance, or films that challenge long – held standards to be more effective or instructive; but El Orfanato nicely illustrates how the standard methods and tropes of the supernatural thriller, the ghost story, even the family drama, can deliver a potent cinematic experience: this film has an engrossing narrative, a coherent visual style (more on that in a moment), and some devastating revelations.
(Parse)
(S1 (S (NP (PRP I)) (ADVP (RB typically))
(VP (VBP find) (ADVP (RBR more) (RB formally))
(NP (NP (JJ experimental) (NNS films)) (, ,)
(NP (NP (DT the) (NN work))
(PP (IN of)
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(, ,)
(NP (NP (NNS films))
(SBAR (WHNP (WDT that))
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(NP (JJ aesthetic) (NN distance)))
(, ,) (CC or)
(NP (NP (NNS films))
(SBAR (WHNP (WDT that))
(S (VP (VBP challenge)
(SBAR (S (ADVP (RB long)) (: -)
(S (S (NP (JJ held) (NNS standards))
(VP (TO to)
(VP (VB be)
(ADJP (RBR more) (JJ effective) (CC or) (JJ instructive)))))
(: ;) (CC but)
(S (NP (NNP El) (NNP Orfanato)) (ADVP (RB nicely))
(VP (VBZ illustrates)
(SBAR (WHADVP (WRB how))
(S (NP (NP (DT the) (JJ standard) (NNS methods) (CC and) (NNS tropes))
(PP (IN of)
(NP (NP (DT the) (JJ supernatural) (NN thriller)) (, ,)
(NP (DT the) (NN ghost) (NN story)) (, ,)
(NP (RB even) (DT the) (NN family) (NN drama)) (, ,))))
(VP (MD can)
(VP (VB deliver)
(NP (DT a) (JJ potent) (JJ cinematic) (NN experience)))
(: :)
(NP (DT this) (NN film))
(VP (AUX has)
(NP (NP (DT an) (JJ engrossing) (NN narrative)) (, ,)
(NP (NP (DT a) (JJ coherent) (JJ visual) (NN style)) (PRN (-LRB- -LRB-)
(NP (NP (JJR more))
(PP (IN on)
(NP (NP (DT that))
(PP (IN in)
(NP (DT a) (NN moment)))
(-RRB- -RRB-)))
(, ,) (CC and)
(NP (DT some) (JJ devastating) (NNS revelations)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
The film has a simple narrative: mystery man enters the kitchen, wearing a t – shirt and a pair of blue and white basketball shorts; he leans against the counter so we see him in profile, and we notice that his shorts, to borrow a phrase from Tennessee Williams, have a conspicuous protrusion, which mystery man can *n’t help but fondle.
(Parse)
(S1 (S (S (NP (DT The) (NN film))
(VP (VBZ has)
(NP (DT a) (JJ simple) (NN narrative))))
(: :)
(S (NP (NN mystery) (NN man))
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(NP (DT the) (NN kitchen)) (, ,)
(S (VP (VBG wearing)
(NP (NP (DT a) (NN t)) (: -)
(NP (NP (NN shirt)) (CC and)
(NP (NP (DT a) (NN pair))
(PP (IN of)
(NP (ADJP (JJ blue) (CC and) (JJ white)) (NN basketball) (NNS shorts))))
(: ;)
(S (NP (PRP he))
(VP (VBZ leans)
(PP (IN against)
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(SBAR (IN so)
(S (NP (PRP we))
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(, ,) (CC and)
(S (NP (PRP we))
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(PP (IN from)
(NP (NNP Tennessee) (NNP Williams)))
(, ,)
(VP (AUX have)
(NP (NP (DT a) (JJ conspicuous) (NN protrusion)) (, ,)
(SBAR (WHNP (WDT which))
(S (NP (NN mystery) (NN man))
(VP (MD can)
(VP (NNP *)
(VP (RB n't) (VB help) (CC but) (VB fondle)))
(. .)))
In Wikipedia:
The main narrative of the film follows Schmidt as he goes on a road trip in order to attend the wedding of his only daughter to a man and into a family he does not particularly like.
(Parse)
(S1 (S (NP (NP (DT The) (JJ main) (NN narrative))
(PP (IN of)
(NP (DT the) (NN film))))
(VP (VBZ follows)
(NP (NNP Schmidt))
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(PP (TO to)
(NP (DT a) (NN man)))
(CC and)
(PP (IN into)
(NP (NP (DT a) (NN family))
(SBAR (S (NP (PRP he))
(VP (AUX does) (RB not)
(VP (ADVP (RB particularly)) (VB like)))
(. .)))
In the ICWSM 2009 Weblog Corpus:
Kubrick’s bizarre statements of a visually encoded meaning seem to suggest that the film’s formal narrative is only a part of the story.
(Parse)
(S1 (S (NP (NP (NP (NNP Kubrick) (POS 's)) (JJ bizarre) (NNS statements))
(PP (IN of)
(NP (DT a)
(ADJP (RB visually) (VBN encoded)) (NN meaning))))
(VP (VBP seem)
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(NP (NP (RB only) (DT a) (NN part))
(PP (IN of)
(NP (DT the) (NN story)))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
(Honestly, the film has a more coherent narrative.)
(Parse)
(S1 (S (-LRB- -LRB-) (ADVP (RB Honestly)) (, ,)
(NP (DT the) (NN film))
(VP (VBZ has)
(NP (DT a) (JJR more) (JJ coherent) (NN narrative)))
(. .) (-RRB- -RRB-)))
In the ICWSM 2009 Weblog Corpus:
Their genius is to make you laugh at all this no matter how unsympathetic the characters might be; the unlikeability of the figures in Burn After Reading is the charge leveled against the brothers this time out, as well as some complaints that they’re borrowing from their other movies, particularly Fargo and Oh Brother, but to the first challenge mostly I’d counter that being able to’ ‘relate’’ to fictional creations and their traumas shouldn’t be the sole basis to enter a film’s narrative.
(Parse)
(S1 (S (NP (PRP$ Their) (NN genius))
(VP (AUX is)
(S (VP (TO to)
(VP (VB make)
(S (NP (PRP you))
(VP (VB laugh)
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(S (NP (DT the) (NNS characters))
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(PP (IN of)
(NP (NP (DT the) (NNS figures))
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(, ,) (CONJP (RB as) (RB well) (IN as))
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(NP (UH Oh) (NN Brother)))
(, ,)))
(CC but)
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(. .)))
In the ICWSM 2009 Weblog Corpus:
But in the 1910s, film sound acquiesced to the demands of captains of the burgeoning cinema industry, who successfully argued that accompaniment should enhance the film’s narrative and emotional content rather than score points by burlesquing or’ ‘kidding’’ the film.
(Parse)
(S1 (S (CC But)
(PP (IN in)
(NP (DT the) (NNS 1910s)))
(, ,)
(NP (NN film) (NN sound))
(VP (VBD acquiesced)
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(, ,)
(SBAR (WHNP (WP who))
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(PP (IN by)
(NP (NP (VBG burlesquing) (CC or) ('' ') ('' ') (NN kidding) (POS ')) (: ')
(NP (DT the) (NN film)))))
(. .)))
In Wikipedia:
The ballad predates “High Noon” as a title song and ongoing ballad that accompanies the film’s narrative.
(Parse)
(S1 (S (NP (DT The) (NN ballad))
(VP (VBZ predates)
(S ('' '')
(ADJP (JJ High) (NN Noon) ('' '')
(PP (IN as)
(NP (NP (DT a) (NX (NX (NN title) (NN song)) (CC and) (NX (JJ ongoing) (NN ballad))))
(SBAR (WHNP (WDT that))
(S (VP (VBZ accompanies)
(NP (NP (DT the) (NN film) (POS 's)) (NN narrative))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
James Newton Howard The album is sequenced with musical flow in mind, rather than following the film’s narrative, so each track is a longish suite of miniature cues stitched together and given rather anonymous titles based on dialog from the film (somewhat of an improvement over the use of bat species from Begins?).
(Parse)
(S1 (S (NP (NNP James) (NNP Newton) (NNP Howard))
(NP (DT The) (NN album))
(VP (AUX is)
(VP (VBN sequenced)
(PP (IN with)
(NP (JJ musical) (NN flow)))
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(NP (NN mind)))
(, ,) (CONJP (RB rather) (IN than))
(VP (VBG following)
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(CC and)
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(PRN (-LRB- -LRB-)
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(PP (IN of)
(NP (NP (NN bat) (NNS species))
(PP (IN from)
(NP (VBZ Begins)))
(. ?) (-RRB- -RRB-))))
(. .)))
In the ICWSM 2009 Weblog Corpus:
We feel that the film has a strong and engaging narrative, however, we feel that the documentary format allows for a more effective delivery of information, thus we feel our documentary illuminates the subject in a broader and more detailed manner.
(Parse)
(S1 (S (S (NP (PRP We))
(VP (VBP feel)
(SBAR (IN that)
(S (NP (DT the) (NN film))
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(NP (DT the) (NN subject))
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(ADJP (JJR broader) (CC and) (JJR more) (JJ detailed)) (NN manner))))
(. .)))
In Wikipedia:
During parts of the documentary, an actor reads diary entries that relate to the historic narrative of the film, and the camera scans pages of the diary.
(Parse)
(S1 (S (PP (IN During)
(NP (NP (NNS parts))
(PP (IN of)
(NP (DT the) (NN documentary)))))
(, ,)
(S (NP (DT an) (NN actor))
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(SBAR (WHNP (WDT that))
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(, ,) (CC and)
(S (NP (DT the) (NN camera))
(VP (VBZ scans)
(NP (NP (NNS pages))
(PP (IN of)
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(. .)))
In the ICWSM 2009 Weblog Corpus:
We’ve seen it all before, and this flows into the narrative of the film, where there is a certain amount of predictability; there is no real conclusion to No Country that offers any satisfaction, again beating the audience over the head with nihilism, in an almost more powerful way than The Mist, which was harsh in its delivery of nothingness.
(Parse)
(S1 (S (S (NP (PRP We))
(VP (AUX 've)
(VP (VBN seen)
(NP (PRP it)) (ADVP (RB all) (RB before)))))
(, ,) (CC and)
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(NP (NP (DT a) (JJ certain) (NN amount))
(PP (IN of)
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(: ;)
(S (NP (EX there))
(VP (AUX is)
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(, ,)
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(PP (IN of)
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(. .)))
In the ICWSM 2009 Weblog Corpus:
Viewed together, the shoes reflect the overall narrative of the film, and after being exhibited at the NYC and LA?
(Parse)
(S1 (S (S (VP (VBN Viewed) (ADVP (RB together))))
(, ,)
(NP (DT the) (NNS shoes))
(VP (VBP reflect)
(NP (NP (DT the) (JJ overall) (NN narrative))
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(NP (DT the) (NNP NYC) (CC and) (NNP LA)))))
(. ?)))
In the ICWSM 2009 Weblog Corpus:
“Taking its aesthetic cues from Shulman’s own sensual and nuanced photography, the film’s narrative is built from a blend of Shulman’s own images as well as in depth interviews with architect Frank Gehry, designer Tom Ford, artist Ed Ruscha, actress Kelly Lynch and writer Mitch Glazer, publisher Benedikt Taschen, Academy Award – nominated cinematographer Dante Spinotti, and a host of others.”
(Parse)
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(S (S (VP (VBG Taking)
(NP (PRP$ its) (JJ aesthetic) (NNS cues))
(PP (IN from)
(NP (NP (NNP Shulman) (POS 's)) (JJ own)
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(NP (NN actress) (NNP Kelly) (NNP Lynch)) (CC and)
(NP (NN writer) (NNP Mitch) (NNP Glazer)) (, ,)
(NP (NN publisher) (NNP Benedikt) (NNP Taschen)) (, ,)) (NNP Academy) (NN Award)))))
(: -)
(NP (NP (VBN nominated) (NN cinematographer) (NNP Dante) (NNP Spinotti)) (, ,) (CC and)
(NP (NP (DT a) (NN host))
(PP (IN of)
(NP (NNS others)))))
(. .) ('' ') ('' ')))
And 126 more sentences.