Sentence examples for visual trappings from inspiring English sources

While "Lady Macbeth," released on Friday, July 14, is set in 19th-century England, it has few visual trappings common to such period films.

The aural and visual trappings of horror are there -- in Danny Elfman's throbbing, stabbing score and in a sound design replete with growls, howls, creaks and shrieks -- but the dread never quite takes hold.

It is indeed striking that the Turkmen government is getting rid of some of the most visual trappings of the grotesque cult of personality surrounding Saparmurat Niyazov, the late ruler of Turkmenistan.

It's easily one of the prettiest, most comfortable places I've been introduced to in a while, a reminder of how crucial to an evening's enjoyment the right visual trappings, the right amount of elbowroom and the ability to have a conversation without shouting can be.

So he created a piano act featuring candelabra inspired by a movie about Chopin, classical-sounding renditions of popular music, piano lessons for audience members, frequent references to his mother (he solicited tuna recipes for her benefit) and outrageous visual trappings that became legendary in their own right.

In fact, it is a marvellous visual feast of pantomimic excess, a portrait of a little man who is so ludicrously burdened by the visual trappings of kingship that he might as well be carrying a pregnant donkey across his back.

From the outset, the film is replete with the visual and linguistic trappings of imprisonment.

Once all were inside, the visual art world trappings piled up, with everyone milling around as if at a gallery opening.

What I take away is that the promotion of revolution and the departure from figuration in art amount to alternative strategies of visual seduction, booby-trapping intellectual programs with gratuitous pleasures.

Objections were raised to metal's adoption of visual spectacle and other trappings of commercial artifice, but the main offense was its perceived musical and lyrical vacuity: reviewing a Black Sabbath album in the early 1970s, leading critic Robert Christgau described it as "dull and decadent...dim-witted, amoral exploitation".

Therein lay the unspeakable trappings of our visual codes".