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It is a constant form of visual pleasure.
Part of the show's fascination comes from the combination of visual pleasure and physical shock.
There's hardly a frame in the 1929 film "A Throw of Dice" that doesn't provide a surge of visual pleasure.
It caters to the kind of visual pleasure — the delight in ogling beautiful bodies in motion — that film theorists have long associated with the male gaze.
No filmmaker is more aware of the private value and the intimate price of making images, of the vastly nourishing power of visual pleasure, and of the identity crisis entailed by image creation.
In her rejection of visual pleasure (the unlovely, unadorned, badly lighted digital images add to the anti-aesthetic) you can see a feminist argument about narrative cinema in bold action.
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A curiosity cabinet of visual pleasures.
The audacious pileup of visual pleasures and conceptual provocations in "Who's Afraid of Jasper Johns?," at Tony Shafrazi, conceived by Brown and Fischer, starts with a trompe-l'oeil stunt.
India's tough censorship policy has cost its people a wide range of visual pleasures, but even so, its latest blow would have been difficult to anticipate.
"Exquisitely detailed — from its ocean breakers to the wavelike curlicues on a pirate's luxurious beard — the movie is a curiosity cabinet of visual pleasures but so breezy and lightly funny that you may not realize at first how good it is," Manohla Dargis wrote in The Times in April.
"Exquisitely detailed — from its ocean breakers to the wavelike curlicues on a pirate's luxurious beard — the movie is a curiosity cabinet of visual pleasures but so breezy and lightly funny that you may not realize at first how good it is," Manohla Dargis, who made it a critics' pick, wrote in The New York Times.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com