Sentences with phrase «by cinema history»

Paul Thomas Anderson has always been considered something of a wunderkind, an idiosyncratic director with a clearly defined vision and a style deeply influenced by both cinema history and his upbringing in the San Fernando Valley.

It is to buy that suggestion made inherent by cinema history that what we are about to see is something high - concept and arty that demands to be appreciated by anyone with a taste for high - culture.

Not exact matches

These two types of expertise don't always overlap; Robert De Niro has given some of the greatest performances in the history of American cinema, but by his own admission he doesn't have much to say about how he does what he does.

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I am a fun loving, easy going, down to earth and affectionate person.I am a passionate person and i like to meet new people and i always want to go extra miles to get me loved by who so ever comes around me.I am fun to be with.I like to play golf and i also like swimming, i like to go to cinema to watch movie with my loved one.I like to go camping and have a cool dinner with my lover in a very cool environment.I like candle light dinner.I like good books, history and political history, travelling, some sports and music, theater, and most of all, good company, good interesting conversation and good companionship.

Anyone who is interested in the history of film technology and cinema can certainly take something away from Side by Side, even if it is just learning the opinion of Robert Rodriguez or Danny Boyle.

That tally made it the ninth most successful film of 2009, and by far the highest grossing R - rated comedy in US cinema history.

With Independence Day: Resurgence and the 2016 presidential election on the horizon, we have ranked, by Metascore, those film with the funniest, bravest and most inspirational fake POTUSes in recent cinema history.

With Lionsgate's big screen reboot of Saban's Power Rangers hitting cinemas this Friday, THR is reporting that the film is set to make history by being the first big - budget superhero movie to feature a LGBT protagonist in Becky G's Trini, a.k.a. the Yellow Ranger, with the character revealed to be having «girlfiend problems» in what director -LSB-...]

There are films throughout the history of cinema which occupy the most upper of echelons and whose names are greeted by exuberant, unashamed nods and noises of approval.

Co-written by Dekker and Shane Black («Lethal Weapon,» «The Long Kiss Goodnight»), «The Monster Squad» has got to be the most politically incorrect «kids movie» in the history of cinema.

From his interaction with a news director in a local station, played strikingly by Rene Russo, to his end goal, it can come off like more like Macaulay Culkin in «The Good Son» than anyone else in cinema history.

For most of its history, French cinema has undergone periodic upheavals characterized by massive changes in many areas — personnel, economics, typical film style and content, and so on.

Unlike The Silent Revolution, The Captain's narrative focus is not on the victims (who eventually become victors) of history but the perpetrators — a true rarity in the history of German cinema that is made even more remarkable by the fact that the film does not concern itself with the famous culprits (as does Oliver Hirschbiegel's Der Untergang [Downfall, 2004]-RRB- but, rather, with the «unknown» wrongdoers, that is, the «little guys» who, once afforded the opportunity, displayed the same murderous tendencies than their more famous leaders.

Aaron Gerow lays out a history of film criticism in Japan to the present day, underscoring a narrative about cinema negotiated by professionals who gradually lose the ability to make a substantial impact on either audiences or the industry.

Given that Germany, with few exceptions such as the comedy genre and the history film, does not have a well - established genre film tradition anymore (at least not on the big screen), the only way to rejuvenate such a tradition is by explicitly committing to producing many genre films for the cinema.

Based on the book «Truth and Duty: The Press, The President and the Power of Privilege» by Pulitzer and Emmy winning television producer Mary Mapes and detailing the explosive story of then President George W. Bush's questionable history with the National Guard during the Vietnam War, Truth is a riveting piece of cinema with a powerhouse performance by two - time Academy Award ® winner Cate Blanchett as Mapes.

Roman Holiday Year: 1953 Director: William Wyler Start by casting the male lead with one the most honorable, decent leading men in the history of American cinema.

I'm unsure how the film plays for those who know everything about the mythic beginnings of that enigmatic Swedish star, all the gossip surrounding her banishment from Hollywood (and her triumphant return), and who can trace the history of cinema by tracking the star's own move from small national markets to Hollywood to Europe and back again, all the while gracing the stage in Italy, France, the West End and Broadway.

It's an issue not ameliorated by the appearance of house - painter Hubert (Janet McTeer), who, in one of the more terrifying scenes of nudity in the history of cinema, reveals that he is also a she, and married, I guess, to the oddest - looking one from The Commitments (Bronagh Gallagher).

In 2016, it was named one of 150 essential works in Canadian cinema history in a poll conducted by the Toronto International Film Festival (TIFF).

NORTE, THE END OF HISTORY By Noel Vera A Crime and Punishment update from Lav Diaz, the tireless maverick of Philippine cinema

GAME CHANGERS By Paul Schrader Slow, fast, and reverse motion: part five of a technological history of cinema

It's rarely a film that people point to first as a sign of Welles» mastery, but it's no less essential to understanding his place in cinema history, and Criterion continues to prove their commitment to his filmography by LOADING this release with the kind of special features that make it desirable to cinephiles.

The stark black and white cinematography and a stunning supporting performance by Joe Pesci make the film one for the ages and are easily the greatest boxing movie in cinema history.

In a groundbreaking achievement, director Richard Linklater has created cinema history by filming over the span of twelve years the same cast to tell a story about a six - year - old boy growing up in Texas.

Inspired by Martin Scorsese's journeys through US and Italian cinema, French filmmaker Bertrand Tavernier investigates his own country's cinematic history.

A History of Violence had most of the audience in my cinema laughing uncomfortably, squirming at the gore, and generally sounded disappointed by the time the credits rolled.

To try and chart the history created by this false binary in cinema is an entire other beast.

Sure, some of the story beats and characters are familiar in the super-rigid superior district attorney (played by Alfred Molina), and the play - by - his - own - rules detective, but they've been proven to work over the course of cinema history.

While both films are marked by ambivalent female protagonists who dare us to be o ended by their social transgressions, they are also marked just as plainly by their nostalgic reimagining of cinema history.

Whether he's paying dazzling creative homage The Red Shoes or The Creature from the Black Lagoon, Del Toro taps into the history of fantastical cinema for his film, ably abetted by production designer Paul Austerberry and cinematographer Dan Laustsen whose evocative helps bring Del Toro's vision to life.

Guillermo del Toro's recent movie history is haunted by so many half - formed projects, it's become something of an event whenever he gets a film into cinemas.

These concerns can be felt throughout Ford's filmography, which returns again and again to the potentials and pitfalls of group formation at a moment in American history — and within a genre of American cinema — defined by the collisions between people of varying classes, ethnicities, and visions of the nation's future.

THE STORY OF FILM By Jonathan Rosenbaum A commendable TV epic takes a stab at remapping the history of world cinema

Jones begins by providing a history of the book itself, its importance to cinema studies, and why it was an important project for both Hitchcock and Truffaut.

GAME CHANGERS By Paul Schrader Production design: part nine of a technological history of cinema Plus: Michael Sragow interviews the visionary Jack Fisk

By most definitions, Jaws is more a suspense thriller than a horror film, but it gave us one of the most heart - stopping, breath - holding, unnerving musical ideas in the history of cinema.

SUNSHINE STATE By Kent Jones This newest mini-epic from American cinema's most unapologetically leftist director is all about traditions in the making and packaged history in the land of Spring Break and gated communities.

Korean cinema 2004 - 2014 By Goran Topalovic The secret of Korean cinema's 21st - century success story: a brief history

IRISH CINEMA Idyll & ideology by Harlan Kennedy History by Kevin Rockett Herstory by Kathleen Murphy

Described by Festival Director Nashen Moodley as a «living archive», this extraordinary multi-media presentation conveys 61 years of defining cultural history in the life of the Harbour City's iconic cinema event, the Sydney Film Festival.

The occasional game - inspired flick might has its fair share of entertaining moments, but not a single one (or at least those recognized by Wikipedia) could be classified as a worthwhile piece of cinema history.

The films shot in three cities, Istanbul, Warsaw and London bring together ancient and contemporary history, the history of cinema, science fiction, and are open to constant interpretations by the viewer as all of his work.

True North's counterpart, Fantôme Afrique, weaves cinematic and architectural references through the rich imagery of urban Ouagadougou, the centre for cinema in Africa, and the arid spaces of rural Burkina Faso, and is punctuated by archival footage from early colonial expeditions and landmark moments in African history.

Influenced by history, cinema and popular culture, Spanish artist Ernesto Cánovas sources images from old and new media to produce evocative, semi-abstract paintings that capture a fleeting moment in time.

This catalogue documents a two - part project that included an exhibition with works by Eadweard Muybridge and Jan Dibbets, together with a documentary created by Chris Dercon for Dutch television on the history and future of cinema.

Inspired by Hayao Miyazaki, Albert Robida, Moebius, Wim Wenders, Federico Fellini and William Klein, Laurent questions diverse subjects, such as immigration, poverty, gypsies, cinema, architecture, politics, music, pop culture and history, and aims to tell a different story, against any preconceived ideas.

Further, the main section is complemented by a number of cinema and screening programmes which point up some defining moments in the history of video.

Cannily incorporating a wide range of visual vocabularies drawn from the realms of cinema, advertising, communications, and the history of art alike, and strategically structuring both architectural environments and the editing of images and sounds in order to take in the viewer and overwhelm the senses, Aitken exposes audiences to ideas — and to each other, in communal spaces — by means of a nearly hypnotic aesthetic.