In the first case, the question being asked is whether a putative puritanical viewer was given a chance to tune out before the foul-mouthed moment.
Deliberately, the toy was designed to look like a TV set: but one where the viewer was given only a blank, inviting sky.Mr Cassagnes had invented this ardoise magique at work.
Although completely voluntary, any prospective questionnaire viewer was given an opportunity to critique the instrument and post any concerns to the host.
The viewer is given little reason to respect his character; there is no mention of his intellectual record, just some crude opening shots of dollars rolling off a printing press.
For musical accompaniment, the viewer is given a choice of two soundtracks: a graceful arrangement of period themes from Rodney Sauer's Mont Alto Motion Picture Orchestra and a rollicking piano score by Philip Carli.
As the brothers, played by Dan Spielman and Ashley Zukerman, pursue the truth behind the chilling video, the viewer is given a glimpse into a world in which politicians will go to extreme lengths to keep a secret.
Structurally, Mr. Kushner likens the difference between "Angels" and "Caroline" to a shift from "Bruegel or Asian art -- where there is no vanishing point, the eye is left to simply wander around, and the viewer is given the freedom to organize for her or himself what the event has been -- to Renaissance, single-point perspective".
At the start the viewer is given a certain amount of control over what happens to Pi but as the "game" progresses, the keys will no longer do what you expect and by the end, you have no control over what is happening onscreen, in the same way that Pi has no control over his destiny.
As in Philippe de Broca's "King of Hearts" (1966), which "House of Fools" resembles to a highly painful degree, the viewer is given to understand that the gentle, childlike inmates are far saner than the generals and politicians who run the big, brutal outside world.
As the often raw footage establishes its own dissonant rhythm, it coalesces into a kind of meta-narrative in which the viewer is given a sense of what it means to be the person behind the camera, whether waiting patiently for the light to change on a hillside above a nondescript village or deciding how long to linger on an inconsolable subject's anger or distress.
In the Active model, the viewer is given a share of the storyteller's power to affect the outcome of the story's events.
