Sentences with phrase «archival film print»

Philip Hallman, Film Studies Field Librarian and Curator for the Screen Arts Mavericks & Makers, manages a collection which includes 20,000 DVDs, 3,000 screenplays, and an archival film print collection.

Not exact matches

Extras: «Night of Anubis,» a never - before - presented work - print edit of the film; new program featuring filmmakers Frank Darabont, Guillermo del Toro, and Robert Rodriguez; never - before - seen 16 mm dailies reel; new piece featuring Russo about the commercial and industrial - film production company where key «Night of the Living Dead» filmmakers got their start; audio commentaries from 1994, featuring Romero, Russo, producer Karl Hardman, actor Judith O'Dea, and more; archival interviews with Romero and actors Duane Jones and Judith Ridley; new programs about the editing, the score, and directing ghouls; new interviews with Gary R. Streiner and Russel W. Streiner; trailer, radio spots, and TV spots; an essay by critic Stuart Klawans.

NEW 4K scan of the film taken from the best surviving archival print.

... «and the old» (in chronological order) Perepoloch (Turmoil, Aleksandr Levšin, 1928)-- archival revelations happen Chlib (Bread, Mykola Špikovskij, 1929) Perekop (Perekop, Ivan Kavaleridze, 1930) * Kvartira nemca (The Apartment of a German, Mojsej Berov & Aleksandr Medvedkin, 1945)-- ecstasy (thanks to the Belye Stolby Festival) Leave Her to Heaven (John M. Stahl, 1945) Giorni di gloria (Days of Glory, Luchino Visconti, Giuseppe De Santis, Mario Serandrei, Marcello Pagliero, 1945) Morituri (Eugen York, 1948) Strange Victory (Leo Hurwitz, 1948) * Guān liánzhǎng (Platoon Commander Guan, Shí Hūi, 1951) Tiān xiānpèi (The Heavenly Match, Shí Hūi, 1955)-- some match that is Die Welt horcht auf (The World Pricks up Its Ears, Max Jaap und Karl - Eduard von Schnitzler, 1957) Ósmy dzień tygodnia (The Eighth Day of the Week, Aleksander Ford, 1958) The Lineup (Don Siegel, 1958) * Čovek i zver (Man and Beast, Edwin Zbonek, 1963) Lo scandalo (The Scandal, Anna Gobbi, 1966)-- revelations happen (now give us a film print) Gorke trave (Witness Out Of Hell, Živorad Mitrović, 1967) Nemirni (The Naughty Ones, Vojislav «Kokan» Rakonjac, 1967) I cannibali (The Cannibals, Liliana Cavani, 1969) Sziget a szárazföldön (Island on the Continent, Elek Judit, 1969) * Two Mules for Sister Sara (Don Siegel, 1970) Making of «Nedostaje mi Sonja Henie» (Making of «I Miss Sonia Henie», 1972)-- KarpoGODina * Hans — ein Junge in Deutschland (Hans — A Boy in Germany, Sohrab Shahid Saless, 1985)-- a lesson in (TV) history * Barbara (Nils Malmros, 1997)-- how could I not like it?

Digital radiography has the advantages over conventional film radiographs in that it uses approximately 1/3 of x-radiation to create the image, the ability to enlarge the image to see small changes, increase or decrease contrast to help small lesions show up better, archival of images on a hard drive or back - up disc, easy retrieval, and the ability to print the images for client education.

This guide will offer the opportunity to go behind the scenes and see footage of Jasper Johns's working processes and a rare archival film of the artist working in a print studio in the «70s.

BOB ADELMAN (1930 - 2016) Andy Warhol filming with movie camera at the Factory photograph 1965 (printed later) archival pigment print, numbered 1/20, signed edition of 3 (intended edition of 20 not completed during the photographer's lifetime) paper size > 14.25 x 18.5 inches

Galleries on the fourth floor present Abstract Expressionist paintings, sculptures, prints, drawings, photographs, films, and archival materials in a display subtitled The Big Picture, marking the first time in the history of the new Museum building that a full floor has been devoted to a single theme.

«Tarnished Trees» is a large 36 x 36 inch multi layered work made with an archival pigment print of silhouetted bare tree branches on film, loosely nailed over salvaged copper on wood p...

«Dark Shadows» is a 36 x 36 inch multi layered work made with an archival pigment print of silhouetted bare tree branches on film, loosely nailed over salvaged copper on wood panel.

«Bare Branches» is a 36 x 36 inch multi layered work made with an archival pigment print of silhouetted bare tree branches on film, loosely nailed over salvaged copper on wood panel.

Black and white print on archival backlit film, commissioned by Liverpool Biennial, Karachi Biennale and The Tetley, part of the New North and South, in collaboration with Hospitalfield and ROSL Arts.

Bringing together over 300 works from the 1950s to now, it includes vintage and contemporary prints, archival material, specialist magazines, rare film and photo books, from leading photographers who developed these relationships and bodies of works over months, years or even decades.

He worked almost exclusively with Kodachrome slide film for over 50 years, and only in the past decade has technology allowed him to make archival pigment prints that match the exceptional colour and intensity of the Kodachrome slide.

Temporary Wall Structure 1, 2, 3, 4, 2016 Archival pigment print on backlit film mounted to acrylic 96 x 35 in (each panel)

Jeremy Bolen, from Site A / Plot M series, «site a burial # 2 (September 2012)(buried at site a, with the first nuclear reactor) # 7», «site a burial # 1 (April 2012)(film buried at site a, with the first nuclear reactor) #», «site a burial # 1 (April 2012)(film buried at site a, with the first nuclear reactor) # 2», all 2012, archival pigment prints, dirt from site, 20 x25 inches.

Not content to have made his point with footage of the image printed on Christmas stockings, Campbell then shows archival film of the same volunteer's elaborately staged funeral, pointing out that it too was exploited for political ends.

The display defines a dialogue with the archival material that in Non-Consensual Act (in progress) takes the form of a film, prints and documents.

«Tarnished Trees» is a large 36 x 36 inch multi layered work made with an archival pigment print of silhouetted bare tree branches on film, loosely nailed over salvaged copper on woo...

«I dream a world» Looking for Langston, an exhibition of newly - conceived, large - scale and silver gelatin photographic works and archival material, at Victoria Miro, Wharf Road and a special presentation at Somerset House for Photo London (18 — 21 May) features photographs presented as both large - scale works and silver gelatin prints, accompanied by an installation of the award - winning film.

The students were able to choose from two types of photographic techniques, gelatin silver printing, a film photographic technique, and archival pigment print, which involves digital photography.

The Past Is Another Planet: Huntington Rose Garden; OEB 7350, Photograph of Octavia E. Butler, Washington, 2001, 2016; archival pigment print from film (diptych).