Sentences with phrase «american film culture»

In 1986, the movie Top Gun probably couldn't predict the effect that it would have on American film culture.

But that had a lot to do with its arrival at a time when it seemed to validate ideas I and other cinephiles had about French and American film culture.

As an «outsider to American film culture and American culture in general,» Gadon's involvement in 11.22.63 marked a firm entry into Hollywood's exclusive club, a situation in which the Canadian actor is grateful to find herself.

The success of such movies and their imitators has been identified by many as one of the reasons why American film culture took a nosedive in the 1980s, but his career has always alternated between blockbusters and more serious fare.

Jacqueline Stewart's research and teaching explore African American film cultures from the origins of the medium to the present, as well as the archiving and preservation of moving images, and «orphan» media histories, including nontheatrical, amateur, and activist film and video.

Not exact matches

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Later, God the Father takes on the form of a Native American wiseman (Graham Greene), and leads Mack on a New - Agey «healing trail to bring closure to [his] journey» — the most egregious example of racial essentialism in a film that takes shallow assumptions about foreign cultures as its starting point.

Mr. Jackson (also known as Sekou Molefi Baako) is an East Elmhurst resident with a long history of community service, including 36 years as Executive Director of the Queens Library's Langston Hughes Community Library and Cultural Center, a full - service, general circulation library with an extensive reference collection of materials related to African American history and culture, and a cultural arts program that offers a variety of programming of independent film video screenings, stage presentations, panel discussions, concerts, art exhibitions and more.

Later films like 1998's American History X also invoke the culture of jailhouse lifting, even though real California prisons currently do not feature equipment beyond dip and pull - up bars.

An advertisement film (variously called a television commercial, commercial or ad in American English, and known in British English as a TV advert or The principle of Yin and Yang is a fundamental concept in Chinese philosophy and culture in general dating from the third century BCE or even earlier...

Wiseman toned down his message and began focusing more on American culture to point out the symbolism of daily activities in his film Primate (1974).

When one of the camp's guiding shrinks tells a room full of parents that their children are addicted to online games because «they can't experience satisfaction and heroism in real life,» the film can't help but invite comparison to the child - coddling excess of American culture, while capturing the opposite scenario in excruciating detail.

«Crooked Arrows» gets points for its glimpses of Native American culture and history - the film's backers include the Onondaga Nation - but too many of these scenes are disappointingly static.

Nashville (1975) is maverick director / producer Robert Altman's classic, multi-level, original, two and a half - hour epic study of American culture, show - business, leadership and politics - and one of the great American films of the 1970s.

The gloomy things «The Pledge» has to say about manhood are antithetical to the heroic rites of Hollywood action - adventure films and professional sports through which American mass culture channels and idealizes male violence.

But it is to be regretted that Hollywood loses another precious platform for the kind of arthouse film that makes up the lasting fabric of American cinematic culture.

The film centres on the seemingly irreconcilable culture clash between the pernickety British - Australian author and the gosh - darnit informality and enthusiasm of her American wooer.

This film proves Burton has the ability to combine tragedy, comedy, satire and American culture all into one film.

In A Quiet Place, John Krasinski's third film as a writer - director - actor (The Hollars, Brief Interviews with Hideous Men), a cheaply made, disposable children's toy, a plastic and metal reproduction of the space shuttle — a symbol of both triumph and tragedy in American culture — portends an abrupt, premature end for the unfortunate member of a...

Features both the American and British versions of the film, commentary track by creator / actor Richard O'Brien and co-star Patricia Quinn, an audience participation picture - in - picture track with a live version of the show and a «callback» subtitle track that cues viewers to classic audience responses, featurettes, two deleted musical scenes, outtakes, alternate opening and ending, and other celebrations of the culture of «Rocky Horror.»

Based on the true story of the film's writers (and real - life couple), Emily V. Gordon and Kumail Nanjiani, this modern culture clash shows how Pakistan - born Kumail and his American girlfriend, Emily, have to overcome the expectations of his family and their 1,400 - year - old traditions.

Also worth mentioning is how the film approaches strange incongruities within American pop culture — one early sequence finds Ferrell humming the theme from «S.W.A.T.» before launching into the theme from «I Dream of Jeannie».

A profoundly unsettling work from the great American director Todd Haynes, Safe functions on multiple levels: as a prescient commentary on self - help culture, as a metaphor for the AIDS crisis, as a drama about class and social estrangement, and as a horror film about what you can not see.

Having tackled the gangster genre in his last film Black Mass, Cooper's moved right to his culture's most potently mythic territory, pinpointing its peak moment: the climax of the so - called Indian Wars and the fading of the misguidedly romanticised American Frontier.

The boisterousness of the film's finale, with its sieges and rescues, its lightning bolts and flash floods, relieves what would otherwise be an almost unbearably sad evocation of what is least preservable about youthful experience: not so much the loss of that «innocence» that is such a hackneyed motif of modern American culture (and for which summer camps have always been a favored location) but the awakening of the first radiance of mature intelligence in a world liable to be indifferent or hostile to it, an intelligence that can conceive everything and realize only the tiniest fragment of it.

Add to this new films, split across the Venice Days, Orrizzonti and Out of Competition sidebars, from an array of interesting names including Chantal Akerman («Almayer's Folly»), Mary Harron («The Moth Diaries»), Al Pacino («Wilde Salome,» the cast of which includes — you'll never guess — Jessica Chastain) and even James Franco (here furthering his friendship with American gay culture with a biopic of 1950s teen idol Sal Mineo) and there should be more than enough to explore even once the festival has blown its pre-Toronto load.

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.

The film makes a tough point about how American sporting culture cares less about a person's upbringing, the quality of a person's abilities and even their talents than the wholesome image they project.

This is the story of how this revolutionary film impacted American culture as told by Romero and a cast of experts.

READINGS Books about all aspects of filmmaking and film culture Sisters in the Life: A History of Out African American Lesbian Media - Making edited by Yvonne Welbon and Alexandra Juhasz, reviewed by Nick Davis; William Faulkner at Twentieth Century - Fox: The Annotated Screenplays edited by Sarah Gleeson - White, reviewed by Nick Pinkerton; Everybody Sing!

Highlights include: Cage introducing himself («I'm an American filmmaker»), describing why he likes this movie («I like seeing people from different cultures co-existing in a harmonious way... that's just good energy») and how it reminded him of Endless Summer, explaining how he knew Christensen's work in the films of his dear family friend George Lucas, and his abrupt end to the session.

Dead Man Year: 1995 Director: Jim Jarmusch Jim Jarmusch directed this post-modern examination of the western film genre as American pop culture finally began to veer away from the expected western films.

Let the Right One In Year: 2008 Director: Tomas Alfredson Vampire stories are plastered all over American pop culture these days (True Blood, Twilight, The Vampire Diaries), but leave it to the Swedes to produce a vampire film that manages to be both sweet and frightening.

Nonetheless, the match remains one of those quintessentially American culture - wars publicity stunts that seems to inspire a new unproduced film script every couple of years.

We're negotiating for films from UCLA Film & Television Archive, George Eastman House, Museum of Modern Art, the British Film Institute, the National Museum of African American History Culture, the Tyler Texas Black Film Collection at SMU and private collectors — we're calling in all favors.

The film has a particularly fresh feeling, focusing not only on bisexuality but also Iranian American culture, two things brushed aside by Hollywood.

The film is packed full of references and it makes fun of everything from American Idol to Juno and Diablo Cody to energy drinks to every absurd part of American culture that, if you're from Europe, you probably already make fun of.

This is a year when so many women are being celebrated on film and American culture at large.

It's not the best film, it gets a bit repetitive with the constant barrage of American pop culture, and the second half slows down and loses the momentum it built, but it's a wild ride and totally worth seeing if you love the very dark, brutally honest humor that Bobcat does so well.

Though the film is banned in Russia allegedly because of swear words, there is sufficient criticism of the Russian system to warrant its censorship though, nonetheless, the Ministry of Culture of the Russian Federation has submitted this film for a potential American Oscar.

As the only festival in the US to be accredited by FIAPF, and having developed under the shadow of the formidable American Film Institute, the event entertains a complex relationship to mainstream US film culture and international cinephilia.

He can't hide his contempt for American culture, and his presence not only infuses the film with some fresh energy but provides some of its most memorable moments of comic relief.

The more pop culture is saturated with films like Neil LaBute's Your Friends and Neighbors and television programs like Jerry Springer, Judge Judy, and The Simple Life, the more Americans...

Unlike the fluid mix of crew and actors - namely American headliners Richard Widmark and Gene Tierney, plus a fine supporting British cast - the film's music soundtracks and longer / additional scenes in the British version reflect their target cultures.

However, this is anything but a period piece, as the film retains an early»90s American pop culture feel more than anything else, replete with contemporary references and postmodern sensibilities.

It's a story of Native American culture that's also a thriller and a story of empowerment, and in an era in which so many genre films look alike, it's so refreshing to see something like «Mohawk» that stands apart from the crowd.

The movie, which opens Friday but made its Houston debut Saturday night as part of a day - long community event celebrating the film sponsored by the Houston Museum of African American Culture that also included a welcome from Democratic congresswoman Sheila Jackson Lee, actually has its start in «Captain America: Civil War» two years ago.

Details on the film remain a mystery, but it will reportedly tell the story of the rise and fall of the American dream, dealing with race and culture from the perspective of one central character.

Oscar loves to be cutting - edge and choose films and performances that mark rites of passage in American culture.

This period has long been mythologised in American culture as a pure, even heroic time, but Alejandro G Inarritu's extraordinary new film depicts it as the squalid and vicious scramble for wealth and territory it really was.