Sentences with phrase «american cinema culture»

Kenneth Turan surveyed the program, noting, «Los Angeles has been many things cinematic, but one of the most important is one of the least known: the 30 - year period when a multitude of downtown theaters functioned as «the undisputed capital of Latin American cinema culture in the United States.»»

Not exact matches

To sensitize them to American sensibilities, companies make new hires watch hours of U.S. cinema and TV: American Pie, Independence Day, and especially Friends, which offers «insight into American culture through the jokes they crack,» according to one veteran Indian accent trainer.

Coco is steeped in the culture of Mexico, something that has featured surprisingly little in American cinema and almost never in a tasteful or enlightening way.

Morita's work in The Karate Kid is iconographic — the character functions like any number of old Asian man archetypes from martial arts cinema, but, transplanted to American pop (his arrival softened by Yoda in The Empire Strikes Back), Miyagi becomes something like an albatross for Asians in modern Western culture not for its incompetence, but for its tonal perfection.

Superhero fans, movie fans and, especially, connoisseurs of black culture — American and African — are all eagerly awaiting the debut of Marvel's «Black Panther» movie starring comic books» first black superhero with an enthusiasm not often seen in American cinema.

But beginning Saturday and running for the following two weeks, the culture cathedral of Lincoln Center will bless New York with its curation of the best cinema of the year, from Cannes hits anticipated on American shores (Todd Haynes» «Carol,» the Holocaust drama «Son of Saul») to the latest from international heavyweights like Taiwanese director Hou Hsiao - hsien («The Assassin»).

But, fascinatingly, Catch Me If You Can resembles Hitchcock's pictures in general in its self - mocking self - awareness: Spielberg's film is a canny satire of American culture and cinema, and, shockingly, a sly auto - critique of his decades - long pandering to the lowest common denominator; to the blinding flash of materialism; and to his almost pathological desire to restore nuclear order at the cost of any faithfulness to theme and mood.

Fincher is appropriately obsessive in his attention to detail as he recreates seventies San Francisco and American culture, right down to his filmmaking choices, which evokes the period cinema without aping it.

As with The Shining, Rob Reiner's Stand by Me is difficult to appraise afresh because its iconography, performances and mood are so ingrained in popular culture and have been so influential on American coming of age cinema.

His cinema has spanned such subjects as South American civil war (Salvador), the Vietnam War (Platoon), speculative capitalism (Wall Street), the assassination of John F. Kennedy (JFK), as well as media, violence and the celebrity culture (Natural Born Killers).

Posted by Cole Smithey at 12:53 PM in Academy Awards, African American Cinema, American Actresses, Black Filmmaking, BLU - RAY, Cannes Film Festival, Celebrity, Cinema, Cinemas, Culture, Current Affairs, Danish Cinema, Directors, Documentary, Editorial, Film, FilmStruck, Home Theater, Streaming Permalink Comments (0)

The reading of his film criticism gave me a very different key to American cinema than the one I used in France, a way to ground it in the culture and its language, to pry it away from its own mythology.

Today, there are more Native filmmakers working than ever before, and the Institute is bringing forward a fourth generation of Native filmmakers and solidifying a pipeline of artists whose voices will have an important impact on American and global cinema and culture.

It's stunning to think of how cinema and American culture today might have been different had George Lucas not made this film.

This low - budget arthouse crime thriller draws on the classic American cinema of the 1970s — films such as Dog Day Afternoon and Taxi Driver — when a new mood of pessimism was taking over politics and culture, but comes to articulate its own strange sweetness and hope.

Upon moving to the United States, she became fascinated with the anthropology of American cinema as a means to understand her new culture.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

Openly influenced by the aesthetics of mid-20th century American cinema, popular culture, fashion, pulp fiction, photography and her hometown of Los Angeles, Prager constructs works of technicolor that posit emotion and human melodrama.

«By that I mean the treks and explorations I take through urban street culture, music, cinema, Native American art and the American West.