Sentences with phrase «at celluloid»

Not exact matches

Perhaps that's because celluloid didn't make very good billiard balls — at least not at first.

Celluloid appeared at a time when the country was changing from an agrarian economy to an industrial one.

Filmmaker Nicholas Jarecki offers a celluloid portrait of a cinematic mastermind at work in this documentary shot over an eight month period and following director James Toback through each phase of production of his 2004 thriller When Will I be Loved.

To one degree or another, I recognize many of the characters, so, on at least one level, the filmmakers have made an effective translation from print to celluloid.

Not only is this one of the most disgustingly vile and shameful wastes of celluloid to come out of a major Hollywood studio, the fact that it was ever released at all is quite shocking.

Haneke and his actors, playing the bittersweet music of Haneke's crafted - down - to - the - essential script, show us fully and roundly what's at stake even as they depict its cruel, slow, biologically - mandated slipping away, and there's simply never been anything, no depiction of romantic / eternal love, more affecting put on celluloid: The fruits of Haneke's unwavering banishment of any easy sentiment or banal platitudes or reassurances about the human spirit is a pure, clear, penetrating, and overwhelming emotion.

For as socially awkward as they can be — at some points they come across as remarkably put together, all things considered, but other times their disaffection and ignorance of social norms shines blatantly through the celluloid — they are remarkably self - aware.

It's a richly evocative celluloid collage, which flits left and right, goes here, there and everywhere to look at the multiple, conflicting and conflicted identities of this place called home.

Letterboxed at 1.83:1 and enhanced for 16x9 displays, Steamboy itself receives a disappointingly murky presentation that appears to have been transferred from celluloid, adding a generation loss — not to mention minor grain and flecking — to a film that was created digitally.

When Van Sant and writer Dustin lance Black arrived at Dan White's infamous «Twinkie Defense,» a palpable disgust for him and those who continue to speak homophobic speech and practice homophobic violence rippled through the celluloid.

All encompassing in scope yet acutely intimate in its observations, Fredrick Wiseman's At Berkeley provides possibly the most expansive look at higher education ever committed to celluloiAt Berkeley provides possibly the most expansive look at higher education ever committed to celluloiat higher education ever committed to celluloid.

While happiness seems eternally out of reach for the Phantom, this celluloid adaptation at least makes his story more accessible to those of us living off Broadway.

Indeed, one of the pleasures of the movie is the way it recalls celluloid rituals all but lost to our digital age: at the critics» screening attended, you could practically hear those present letting slip a collective purr at the sight of the presses rolling with a society - changing scoop: those were the days!

Probably not but after an awards season strewn with (albeit very well done) celluloid abduction, abuse & death, it's quite nice to go in, check your brain at the door and pick it up again 110 minutes later, refreshed & entertained.

Rose's youth, it seems, consisted of parrying or at least juggling the advances of a motley crew of suitors, played by an array of modern - day celluloid «it boys», among them Theo James and a largely sidelined Aidan Turner.

As well, you can take a peek at composer Harold Arlen's home movies, outtakes and deleted scenes, special effects sequences, the 1938 MGM short From the Vault: Another Romance of Celluloid: Electrical Power, the 1939 newsreel Cavalcade of Academy Awards, the 1939 trailer Texas Contest Winners, audio vault, the radio promo Leo Is on the Air, the 1939 radio show Good News, the December 25 1950 Lux Radio Theater broadcast, and stills galleries.

The Counselor (2013) Bardem went back to the hairstylist's chair to play fun - loving drug lord Reiner in Ridley Scott's The Counselor, his second run at bringing celluloid life to a Cormac McCarthy character (the Pulitzer Prize - winning novelist wrote the screenplay).

We are so fortunate to still get great guests and films, and to have the facility at the beautiful movie palace, the Virginia Theater, to show movies on celluloid as well as in 70 mm.

: Heaven Knows What played extremely well with the IONCINEMA team — our Jordan M. Smith called the film an «open - hearted, rawly bellicose realization of addiction has only been graced on celluloid but a handful of times, making the Safdie's film a new exemplar of narcotic cinema for the ages,» the directing team plus regular contributor Bronstein are undoubtedly at the top of their game early into their filmography.

The disc's THX - certified, 1.85:1 anamorphic widescreen presentation of Signs is rich in grain from time to time — at last the celluloid spirit of a new film is preserved in the digital realm.

While not in the upper echelons of celluloid le Carré — The Constant Gardener and The Spy Who Came In From the Cold are still the ne plus ultra of his adaptations, if you ask me — The Russia House is nevertheless a worthwhile endeavor, benefitting from the combined talents of director Fred Schepisi (a perfectly lovely man whom I had the opportunity to meet at the 2012 RiverRun International Film Festival, there to hold a Q&A following the screening of his film The Eye of the Storm; photos and coverage here), scripter Tom Stoddard, and an exceptional cast.

ABOUT PETER CANAVESE An officer and voting member of the San Francisco Film Critics Circle, Peter Canavese authors and maintains the website GrouchoReviews.com and is the chief film critic for both Palo Alto Weekly and Celluloid Dreams, a weekly radio show devoted to film (KSJS 90.5 FM in San Jose, CA every Monday at 5 pm and online at celluloiddreams.net).

For the most part, I felt that I was looking at poorly preserved celluloid as opposed to a botched digital transfer.

Celluloid closet «The first film that captured my imagination as a way of telling this story wasn't a doc at all; it was Bloody Sunday (2002).

We can only hope that this one's ending will also thumb its celluloid nose at conventional wisdom.

What's even more astounding is thinking about how this was the first time that Fincher had used digital — up until this point his films were all shot with celluloid — at a time when the format still looked, in lesser hands, crunchy and flat.

Glass ceilings and celluloid: the gender gap is as wide as ever on the Croisette (and at other festivals)

Here's a list of the worst ever British accents committed to celluloid, and you can probably already guess what finished at the bottom.

The movie's rich three - strip Technicolor gives the whole thing a picture - book quality, yet what we're seeing here with Flynn at his zenith is actually the forebearer of James Bond, Indiana Jones et al: the sheer essence of the celluloid action hero.

We tell you how to get the best results from your DVD player and take a closer look at the technical processes involved in converting celluloid images into zeroes and ones.

Frankly, the superhero movies are getting overwhelming at this point, with Marvel cranking out more celluloid than James Franco ever could.

Looking at early dime novels that dished sensational stories about the shoot -»em - up, rough - ridin» ways of the West, celluloid epics that celebrated the image of the wholesome, white - hatted cowboy, and TV serials whose handsome heartthrobs trotted through the dusty streets of Kansas cowtowns, George - Warren demonstrates how the myth of the range evolved in the media, shrewdly exploring the gap between the image and the reality of the wild frontier.

In the room outside the chamber, where the soundman sat giving me cues through a headset, a restorer also sat peering at a screen and guiding a cursor with a mouse, diligently erasing celluloid scratches and blots, frame by digital frame, from the bare bodies of hippies cavorting in a mud puddle.

Her installation is a lament for the lost art of making films on film and a protest at the replacement of celluloid by digital memory.

In Ed Ruscha's series of holograms produced the same year, the phrase «The End» floats at various depths in the picture plane, set against animated lines scratched into a celluloid surface, and offering a new twist on the interplay between text, landscape, and spatial representation for which Ruscha is known.

Sabrina Gschwandtner's second solo exhibition at Shoshana Wayne Gallery continues her exploration into intricate quilting motifs, expanding on her already complex imagery with the addition of deaccessioned celluloid film strips of female hands hard at work — sewing, threading, knitting and crocheting their way into our human consciousness.

Tacita Dean, in the book accompanying her recent Turbine Hall installation at London's Tate Modern [1], essentially campaigns for the preservation of celluloid film by rallying film makers, writers and artists to speak out against the immediate threat of obliteration of her (and their) medium.

Not scheduled to be screened again (after this Ft. Myers presentation) until late August at the Institute of Contemporary Arts (ICA) in London, PAPER magazine declared, «What Diane Arbus was to photography, Crispin Hellion Glover is swiftly achieving as a filmmaker... Training his sardonic eyes on the strange and afflicted, he achieves a mad dark poetry on celluloid.»

It was a Futura 2000 style scrape, Because we had the «Celluloid» covers, The Phase2, The Futura, there were those four records and it's Futura standing by one of his paintings with a scrape on it and we used to look at it and wonder how he'd done that, so I tried it... Just layered the paint down, scraped it and that was the first real abstract painting that I had done.

His work was also included in notable group exhibition such as: Unscene, WIELS Contemporary Art Museum, Brussels; ATOPOLIS (curated by Dirk Snauwaert) at Manège de Sury, Mons on the occasion of Mons 2015 - European Capital of Culture; Celluloid Brushes at Isabel Bortolozzi, Berlin and Ludlow 88, New York; Vibrant Matter, KIOSK, Ghent, Belgium; Richard Parker (curated by Marc LeBlanc), Michael Thibault Gallery, Los Angeles; Marfa Book Company, Marfa, USA; Mu.ZEE Ostende, Belgium; Middlemarch, Brussels; Karma, New York and White Flags, Saint - Louis, USA.

Barba's work explores the material properties of film, such as the celluloid filmstrip, projection and sound apparatus, while at the same time probing the structure of cinematic narrative and its relationship to memory itself.

The comparative positioning of the two artists» paintings at Loretta Howard Gallery inadvertently recalls the way contemporary modernism used to be taught using «slide trays» filled with 35m celluloid images projected images side - by - side on a large screen.

It seems probable that these uncanny objects, suffused in celluloid fiction while also hinting at its

The resulting film, Empire, 1964, is a study as much in cinematographic looking as it is on the properties of film itself; though the image of the building at night is otherwise fixed, small dramas play out through exposure, the shifting of light over time, and the slight jumpiness of the image as the celluloid passes through the projector.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

There's no rocket - science upscaling algorithms at work here, but the sheer pixel density of the panel gives images a celluloid sheen.