Sentence examples for whose characterisation from inspiring English sources

This is a list of emotional development McGuffins in human form whose characterisation is thinner than the pages of the coffee-stained script they roam in.

A photo showed it being worn with a beard and headdress but its name also alluded to Fagin, the Jewish antagonist in Oliver Twist, whose characterisation provoked allegations of anti-Semitism during Charles Dickens' lifetime and ever since.

Indeed, one of the basic indicators of a vampire's rehabilitation is that they get the hots for her, from which one can infer that failing to want to have sex with Buffy is evidence of a profound moral decrepitude (an interesting departure from standard teen-screen sirens, whose characterisation generally suggests that their viewer/admirers should feel dirty and disgusting for admiring them).

We can hypothesise that only a fraction of GWAS hits will represent classical tissue-specific enhancers, whose characterisation is feasible with current tools.

These observations suggest the existence of consistent phenotypic trait related to DDR, which determines individual response to therapeutic treatment and whose characterisation in PBMC can be used to predict its state in BMPC.

Similarly, Adam W. Kepler of The New York Times felt that Tony was a cliché of trans men—"absolutely nothing [viewers] haven't seen before"—whose characterisation was overly simplistic.

Neither of them thought much of the young actor, whose characterisations, they said, were not broad enough for their comic tastes.

It is a sort of Fathers and Sons in which the fathers have mysteriously vanished, absent at the front or returned half-mad or in pieces, and their places have been taken by shady Bohemian types whose mere characterisation serves to unfold the story.

The simian star of this one is Caesar, whose movements and characterisation are provided through motion-capture technology by Andy Serkis, who similarly played the gorilla in Peter Jackson's 2005 remake of King Kong.

It's fairly clear what's going to happen from the off, but Staincliffe is a sensitive and humane writer whose talent for characterisation is such that our investment in Naz, Holly, Jeff and the rest of the potentially doomed passengers is the fuel for real suspense.

It is surpassed by Vine's clear-eyed characterisation of Martin, whose conflicting feelings about a future child only deepen as Jude is offered IVF and genetic selection of the resultant embryos.