Sentences with phrase «between filmed images»

Not exact matches

The exhibit uses artifacts, images, multimedia kiosks, film and music to draw the seemingly endless connections between music and politics.

This directs the coloured film to the regions of bare surface between the fingerprint deposits, thereby creating a negative image of the print.

An image of the house, along with a film of Fuller's 1933 Dymaxion Car — a whalelike jet - propelled vehicle that could travel in any direction, in air or on land — appears in Best of Friends, a beautifully integrated exhibition that examines the friendship between Fuller and the sculptor Isamu Noguchi.

But dating the beautiful images — which featured in Werner Herzog's recent documentary film Cave of Forgotten Dreams — has led to an ugly spat between archaeologists.

Lewis says her film is an examination of the relationship between fashion, the media, and body image.

There's an element of grain in the image, though it's appealing to the eye and truthful to the nature of the film, which, like many gialli, derives its beauty in part from the opposition between lighting that appears to be found and that which is clearly and expressionistically contrived.

It is interesting that visual artists have drawn on the richness of film titles, exploring the relationship between text and image in this context, but this is not a subject that has generated much interest in the area of film criticism.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

There is perhaps some discrepancy in the play between Wayne's heroic image and the pathological outsider he plays here (forever excluded from home, as the doorway shots at beginning and end suggest), but it hardly matters, given the film's visual splendou

Still, even though West «s pensive, tragic romanticism recalls vintage Bertolucci, and its abundant use of visual and aural signifiers brings to mind Argento, the film's seductive interplay between image and sound — a relationship that would reach its apex with the director's final film Once Upon a Time in America — is trademark Leone.

Between Mimic 3: Sentinel («Mimic: Sentinel» on its title card and hereafter «Sentinel») and his remarkable feature debut, the mostly silent NYU student film Soft for Digging, Petty betrays a genuine gift for cinematic storytelling, stripping down dialogue to a skeletal structure and relying on the force of his images for the bulk of the exposition.

Although the film's controversial nature depends in part on the explicitness of some of the unsimulated sex scenes — an ejaculation shot, for instance, and images of cunnilingus in which the labia are clearly visible — the crux of the problem for many critics has been the slender division between fiction and documentary.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening December 7, 2007 BIG BUDGET FILMS Atonement (R for profanity, sexuality and disturbing war images) Decades - spanning romance drama, opening in England in 1935, about the budding relationship between a rich girl (Keira Knightley) and the son (James McAvoy) of her family's maid aborted when he is falsely accused of a crime by her jealous younger sister (Saoirse Ronan).

The image is perhaps a teensy bit soft by contemporary standards, but certainly the BD outclasses cable when it comes to reproducing the movie's lush colour palette, which runs the gamut between the straight - up surf - and - sun glow of the early scenes on Fire Island and a cooler, desaturated look in the film's latter half.

«Bassaler's doc covers The Misfits and Capa with great aplomb: the film is nicely divided between still and moving images, propelled by interviews with photographers and others involved with the great productions that were documented... For lovers of great visual art, whether in film or photography» — Marc Glassman, POV Magazine

(1965), The Perils of Priscilla (1969), Rodeo (1969), Seems Like Only Yesterday (1971), and Crystallization (1974)- New conversation between Ballard and film critic Scott Foundas - New interview with Deschanel - New piece featuring photographer Mary Ellen Mark discussing her images from the film's set - Trailer - An essay by film critic Michael Sragow

Deraspe opens her film in a very unique manner for a documentary, recreating the imaginary affair between Amina and Sandra in hypersexualized images of women undressing under explicit texts between the pair.

There's something fundamentally powerful about the film's (and book's) understanding of humankind as the push - and - pull between enslavement and freedom, though the directors are better off expressing its themes in a flurry of gorgeous images than in the overly explicit voiceover narration.

Opening with the trailer which appeared last month and closing with a montage of previously seen images, five separate sequences from the film were screened in between (a total of approx. 10 - 12 minutes).

Even without taking under account the evident, constant battle between both characters» «little angels and demons,» there are indeed several religious images throughout «Changing Lanes» and my guess is that Michell tried to make a not so subtle parallel between both characters escalating wrong - doings and Christ's dying for our transgressions, not unlike the ones depicted here, only for them to end the film by actually achieving a redemption of sorts similar to Christ's resurrection, which for both characters in the film seemed so elusive throughout this day, even in moments such as the one when the movie manages to casually place the character played by Affleck (a non-Catholic, I think) inside a confessional with a priest, no less.

The film opens with the subtle image of Ahmad and Marie caught between a pane of glass at an airport, unable to hear what they are saying even though they can see each other.

«There lies the difference between filmmakers who create visceral images, and Ramsay» work: while many crime films contain visceral images, few are interested in the visceral experience of the characters themselves.»

A lot of the film's most uplifting moments are found between the lines, in images of the main characters and the environment around them.

The film opens in Bangkok, Thailand in the midst of a sex scene between Lively's Gina and her husband James, played by Jason Clarke, and we see images that might reflect what Gina is feeling while having sex.

A season of Wong Kar - wai «s films will be shown at the Museum of the Moving Image (Queens, New York) between July 12th and August 24th.

Wheatley surpasses the usual approaches to Haneke's films and considers his ethical concerns vis - à - vis cine - televisual images in the framework of Kantian ethics, both established upon the tension between emotion and reason, the pleasure - seeking instinct and moral responsibility.

Essentially an extended conversation between two strangers, the film gets its most debatable flourish out of the way early: the images of two bodies, intertwined, covered in sand or atomic ash, sparkling yet horrific.

The visually arresting film cuts back and forth between the two children's stories, their separate timelines evoked via sounds and images from period - specific music and movies.

A starter activity for students to explore connections between images and this leads into discussion on censorship in art, film, music and literature.

The film spends a little time building toward what feels like an inevitable battle between Kyle and this mirror image, but it never really happens.

Drawing on Fritz Lang's film Metropolis (1927), Bercea's images oscillate between dystopia and utopia.

Both renowned artists turned to the projected image in the seventies, highlighting the shifting awareness of spatial perception in the interaction between illusionistic filmed space and a physical location.

Leckey builds inroads between cultures, as with his short film Fiorucci Made Me Hardcore, which documents dance in British discothèques from the Seventies through the Nineties, or with another of his shorts, Made in «Eaven, in which he digitally rendered a Jeff Koons balloon - bunny sculpture and transferred the images to film.

Infusing the seductive language of film and advertising with a touch of sly conceptualism, the artists included in New Photography 2010 explore the relationship between straight and constructed photograph, image and picture.»

Tourje's process embodies a number of art forms including music and film, and is reflected in his paintings» tangential relationships between images.

Including photography, film, text, sound and archival material, this project blurs the lines between fiction and documentary, exploring how images inform our understanding of myth and reality.

Beloufa overlaid the audio with tonal sounds and inserted images of a tall watchtower beaming light into the night sky between scenes, underscoring the dystopian science - fiction quality of the film.

Dean presents a series of contrasting pairs: time against sequence, image against sound, day against night, light against dark, sun against moon, and, finally, the distinction between the spelling (Burnewhall) and pronunciation (Banewl) of the farm on which the film is shot.

Visually rich and intellectually complex, the work of Gerard Byrne in photography, film, theatre and multi-screen installation examines the slippage between time and the act of image creation.

«BRUCE CONNER: IT»S ALL TRUE» (Museum of Modern Art, New York) MOMA delivered for Conner with this staggering retrospective that underscored the reciprocity between his moving - image and static work by giving seven films optimun projection within the 250 - piece exhibition.

Cánovas» seamless alternation between aspirational glamour and the visual language of the everyday is reminiscent of the flickering of a film reel, each image closely contemplated and carefully manipulated before it is reborn to the world.

The transition to moving image in Kasten's oeuvre constitutes a metacommentary on the relationship between photography and film.

SCREEN COMPOSITIONS 14 curated by Katherine Liberovskaya For the 14th year, Screen Compositions brings you, as every time, a collection of intersections of moving image with sonic art; a program of screen works representing dynamic two - way collaborations between video / film artists and sound / music artists specifically intended for single - channel projection with no live or performance component: «Parachora», 2009 by Milosz Luczynski -LSB-...]

The installations, books, films and plays of Guy de Cointet (1934 — 1983) offer conceptually playful and witty treatments of codes, ciphers and optical tensions between language and image.

The film is a remarkable example of how art can contribute to thinking politically, using landscapes as a means to decode a culture's values at particular times, and as a source of images for the grouping gap between the power of capital and «the wretched of the earth.»

In the early 1990s, the cinema theorist Raymond Bellour coined the expression «between - images,» using the term to approach the hybrid images between photography, film and video.

The exhibition includes the following films: Closeup Gallery (2003), in which a magician and his assistant engage in a strange game where cards dance, as if equivalent with inner worlds; Soft Materials (2004) where intimate relationships between man and machine are nurtured in an artificial intelligence laboratory; Harpstrings and Lava (2007) a dark narrative that animates dream images through clashing textures and structures; and the new film Sensorium Tests (2012), which revolves around a recently recognised neurological condition called «mirror - touch synaesthesia».

By the use of digital photography and animation, he collects a documentary material of hundreds of photos and film clips that he dissects and reconstruct into large still - or moving images that can be placed between document and fiction.

Through her precise films and photographic works, Lockhart explores the relationship between still and moving images and the productive space between the choreographed and natural gesture.

On view at Room East are two of Frampton's films as well as a lesser - known series of color Xeroxed food product labels that, like his films, highlight incongruent relationships between image and text — like a picture of a wolf on a can of beef chili.