Sentence examples for rapid scene from inspiring English sources

The play begins with a rapid scene involving a botched surveillance operation at a London swimming pool, in which something visually impossible seems to happen.

In a rapid scene change, attention shifts (on May 16) to sacred Guinean sculptures and Mayan ornamental masks at the house's sale of African, Oceanic, and Pre-Columbian art.

For most of the remaining novel, Doyle himself abandons the Holly­wood conventions that made "A Star Called Henry" and "Oh, Play That Thing" more like popular entertainments: an escape-artist hero, manic pacing and seat-of-the-pants plotting, rapid scene shifts and a "Zelig" -like collection of historical walk-ons.

In his early fiction Ouvert la nuit (1922; Open All Night), Fermé la nuit (1923; Closed All Night), and Lewis et Irène (1924; Lewis and Irene)—he borrowed the cinematic techniques of rapid scene changing and transported the reader back and forth from one capital to another.

One clip with rapid scene cuts (e.g., every 1 to 2 s).

Possible attributes include whether or not the scene contains rapid scene cuts, the amount of saturated color presence, and how professional is the editing.

The action and rapid scene-shifting are cinematic: Picture the east Aegean sea by night, And on a beach aslant its shimmering Upwards of 50,000 men Asleep like spoons beside their lethal Fleet.

There's a lot going on here, and it doesn't quite hang together; its depiction of the beauty and celebrity culture is all too familiar, and the direction, by Dennis Smith, on an awkward set by Andris Krumkalns Mr. Davilaa struggles often with his wheelchair on a tiny porch) hasn't solved the fitfulness of the play's rapid scene-by-scene progression.

A jocular opening statement tells us, "This really happened – it really did", and in a succession of rapid scenes we see the early life of Steve Russell, the late 20th-century southerner played by Carrey, unfold before our eyes.

A montage of rapid scenes races to wrap up the scattered implications of Wharton's studied tableaux; the original stately andante quickens to Mainwaring's sprightly allegro, and a moony, post-Freudian light begins to illuminate the characters' psyches.

Their deceptions and recognitions, their suspicions and their silences, open a virtual abyss of fear and despair which they skirt thanks only to their obliviousness and to their desperate ambition — and which May captures in amazingly rapid scenes of action and dialogue that spin and lurch mercurially on a line, a glance, a hesitation.