Sentence examples for has some affinities from inspiring English sources

(It also has some affinities with the more recent and somber "Up in the Air").

Had Dean managed to film the Alsatian pear harvest, it might have looked something like an especially entrancing passage from Michael Hamburger, the 2007 film with which she acknowledges Prisoner Pair has some affinities.

Colker has some affinities with Momix, the American dance company that creates sculptural, multimedia spectacles; while US choreographer Elizabeth Streb (the "Evel Knievel of dance") shares Colker's love of physical risk.

In the course of addressing these issues, the dirty hands challenge is also distinguished from that of political realism, with which it has some affinities, and the resort to role morality to render dirty hands coherent is discussed, as is the issue of the desirability of shaming or punishing dirty hands agents.

In a famous passage in Republic 1, which has some affinities with dialogues of our group, a sophist named Thrasymachus challenges Socrates to define justice without saying (as he was apparently known for doing) that justice is the beneficial or the advantageous (336d).

The design of the figured side has some affinities with Merovingian and Visigothic coins, but the side with the cross has few known predecessors in coinage, and is the first northern European depiction of a patriarchal cross in any medium.

Dorian has some affinity with early-mid period Depeche Mode; Run2Me almost cries out for a Euro-rave remix.

The pages have gone, the names are all lost, but the black cover is spread open, so that it has some affinity with a dark bird flapping in the air.

Curiosity drew me to watch it again, and this time I noticed not only that it was far better directed (by Pat Jackson) than the Carry On films with which it has some affinity, but that it also provided me with a template for the kind of dark, panoramic, over-the-top social comedy that the subject of Thatcherite Britain seemed to call for.

Stamp would probably argue that the difference between Lutyens' memorial and Carmody Groarke's is that the former still has some affinity with a familiar language, a continuity with the classical architecture of death – the complex tapering proportions, the heavy stone, the wreath – which becomes banal when reduced to simple steel girders, which suggest another, industrial language.

More recently, Erion (2001) has defended a position that has some affinity to that of Gunderson.