Sentences with phrase «by modern cinema»

Not exact matches

J.K. Rowling is a talented storyteller, but she has also used the style and technique of modern television and cinema media, which seizes the imagination by pummelling it, bombarding it with powerful stimuli, in a rapid pace, with plenty of emotional rewards.

This is a rare case in modern cinema where the effects actually look real rather than something designed by committee on a computer during postproduction.

Based on the book The Disaster Artist by Greg Sestero and Tom Bissell, the film tells the behind - the - scenes story behind one of modern cinema's biggest cult classics The Room.

Directed with style by D.J. Caruso as the follow - up to his stylish tweaker noir The Salton Sea, the picture has a way with tension and the jump scare — at least until a Fatal Attraction / Astronaut's Wife conclusion proves again that the inoperable tumor of modern mainstream cinema is the ability to end.

Where Todd Haynes's Far From Heaven mined the subtext of Douglas Sirk's films, locating modern cinema's obsession as the uneasy illusion — the hypocrisy — of the traditional family, Down with Love is just an obnoxious magnification handcuffed, ironically, by its adherence to the dissolved Code and the new trend of political correctness.

The cast is lead by the Liam Neeson who is one of my favorites in modern cinema.

by Walter Chaw Arriving right smack dab in the latter half of a decade in American cinema that saw digital «reality» supplant filmic «reality» (and appearing the same year as James Cameron's Forrest Gump: Titanic), Hong Kong legend John Woo's high - camp Face / Off directly (and presciently) addresses issues of identity theft, terrorism, and the digital corruption of reality and indirectly addresses Woo's émigré influence on the modern action film.

Morita's work in The Karate Kid is iconographic — the character functions like any number of old Asian man archetypes from martial arts cinema, but, transplanted to American pop (his arrival softened by Yoda in The Empire Strikes Back), Miyagi becomes something like an albatross for Asians in modern Western culture not for its incompetence, but for its tonal perfection.

These questions were by no means unique to Brakhage — they were in fact the catalyst for modern art — but he was the first to realize their implications for the cinema in a body of truly great works of art.

The advanced techniques of the Hong Kong action cinema translated from the period kung fu and wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.

Like with the greatest modern director of romantic comedies, She's Funny That Way questions the very nature of the cinema's relation to reality, reveling in the idealized illusions while simultaneously undermining their spell by pointing out their unreality.

Virtually indescribable to modern audiences despite its familiar elements, Dead & Buried is a Darwinian fossil of the horror cinema, whose DNA has been perverted by the progressive commercialization of the culture and weakening of the intellectual position.

Larraín is to Chile as filmmakers like Cristian Mungiu are to Romania: cathartic creators who, undeterred by the passage of time, return to examine a regime under which the socio - political power of cinema was largely denied the public and apply its modern possibilities to treating the wounds of the past.

Though some may know of Greene's connection to the movies only by way of his brilliant scripts for Carol Reed's masterpieces The Fallen Idol and The Third Man, as Tonkin puts it, «No giant of modern fiction has ever had such a long and — mostly — fruitful liaison with the cinema as Graham Greene.»

Luckily, the marriage of Martin Scorsese — the unofficial mafia whisperer in modern cinema — alongside Leonardo DiCaprio, Jack Nicholson, Matt Damon, Vera Farmiga, Martin Sheen, Alec Baldwin, and Mark Wahlberg, builds upon the strength of the original film by injecting gritty realism, eliminating somber black - and - white flashbacks, and providing a grim bookend that doesn't occur in the Hong Kong film.

«Bates Motel,» which premiered on A&E on March 18, is inspired by Alfred Hitchcock's cinema classic «Psycho» and set in modern times.

Slow cinema lodestone Journey to the West comes across as Tsai's brilliant and clever attempt at auto - critique, as he places the contemplative fundamentals of his cinema (as symbolised by Lee Kang - sheng and Denis Lavant) into the frantic, chatty, unwieldy maelstrom of modern urban life.

This particular film, directed by Scott Derrickson (Sinister; The Day the Earth Stood Still) is an axiom in the sense that modern cinema is trending the more visual route rather than the intellectual.

Anyone with a passing familiarity with modern Austrian cinema outside of Michael Haneke «s work will not be surprised that arthouse horror «Goodnight Mommy» is produced by Ulrich Seidl, whose own «Paradise» trilogy, as well as 2015's terrific, underseen semi-doc «In The Basement,» share a certain chilly formalist distance with Fiala and Franz» movie.

EDWARD YANG By John Anderson A central figure in modern Taiwanese cinema, Edward Yang's time has come.

In dramatizing Mathison's script, Spielberg and his usual army of key collaborators — led by Janusz Kaminski (director of photography), Rick Carter (production design), Michael Kahn (film editing), and John Williams (original musical score)-- have fashioned a movie for children that looks at home in modern cinemas while retaining an «old - fashioned» pacing and temperament.

In other words, «Homecoming» works by doing something that no Marvel (or DC) movie has done before, something that shows how this monolithic cinematic universe might hope to sustain itself once Thanos has been vanquished to the great space armchair in the sky and modern cinema's biggest mega-franchise becomes desperate for new ways to feel fresh.

It's as if the stoic / pragmatic spirit of that earlier time, also to be found in English literature (think of Ford Madox Ford's World War I — era Parade's End), had survived the transposition to modern cinema, specifically the strain initiated by Alain Resnais with the somber uncertainties and temporal splintering of Hiroshima mon amour (1959).

The set contains two of modern cinema's most charming gems, films that illustrate Pixar's revolutionary computer animation is matched by their clever screenwriting and original concepts, plus several hours of genuinely entertaining bonus features.

Peele challenged modern Hollywood cinema by painting the White American family as the enemy.

This revered tenet of modern French cinema has been cited as a key influence on Luca Guadagnino's forthcoming feature Call Me by Your Name, and is a rare treat on the big screen.

Though written as a book before nearly all of the books this feels influenced by, as a film, The Giver feels very much crafted to fall into a modern - day sensibility of cinema.

Set in the medium's native city of Lyon and captained by cinephiles Thierry Frémaux and Bertrand Tavernier, the Lumière Festival, which hosted its 9th edition in 2017, unfolded like an ethereal, kaleidoscopic journey through cinema joining the living and the departed, the modern and the classical, the marginal and the mainstream via an eclectic lineup of new releases, revivals, and restorations, including American westerns selected by Tavernier, from John Ford's My Darling Clementine (1946) to King Vidor's Man Without a Star (1955); Henri Decoin's Monelle (1948); Jacques Rivette's Le Pont du Nord (1981); John Cassavetes's A Child Is Waiting (1963); and Barbara Loden's Wanda (1970).

There are gems in modern cinema as much as classical cinema that I think are overlooked by putting too much empathsis on cross-comparing real life to fictional ones.

The Hotel enjoys an excellent location in the commercial and cultural area of the central district of Miraflores Surrounded by green areas, modern shopping malls, cinemas, theaters and restaurants.

Recently built, located in the commercial and residential area of Miraflores, the most modern, cosmopolitan and cheerful of Lima, surrounded by the most famous cafes, restaurants, cinemas, theaters and entertainment centers in...

The cutting edge architectural design of FV by Peppers is matched by the inclusion of some thoroughly modern facilities, such as indoor Moonlight cinema, private lounges, an outdoor tropical lounge, heated u-shaped skyline pool, yoga studio and a gym boasting the latest in exercise machines.

And the marina itself has been smartened up, enlarged and fringed by modern apartments, hotels and a cinema complex.

RICO is an arcade - style, first - person shooter inspired by modern action cinema.

Developed by Ground Shatter, RICO is an arcade - style, first - person shooter inspired by modern action cinema.

RICO is a first - person, buddy cop shooter inspired by modern action cinema.

Prominent works include Dresden Dynamo at Arte Inglese Oggi, Milan, in 1976 and her «expanded» cinema work Light Music, which was motivated by the lack of women composers in classical European composition at Tate Modern in 2012.

Tate Modern will host another likely blockbuster during the Games, a show devoted to Edvard Munch, drawing on recent research to present him as an emphatically modernist artist influenced by developments in technology, such as photography and cinema.

ARTPROJX CINEMA PRESENTS at the SVA THEATRE, NEW YORK 2012 Friday March 9 at 8.30 pm and 9.30 pm The Modern Institute and Artprojx Cinema presents A Grammar for Listening (Parts 1 — 3) & All Divided Selves by Luke Fowler Saturday March 10 at 7 pm and 8 pm Artprojx Cinema & AV - arkki, The Distribution Centre For Finnish -LSB-...]

The photographer — who rose to fame in the early 1990s with a modern style characterised by the merging of digital manipulation and darkroom techniques — has since started «composing» his images by integrating an interest in the natural world with concepts typically associated with painting and cinema.

For Tuesday Evenings, Hubbard / Birchler discuss Grand Paris Texas, the 2008 video piece commissioned by the Modern and described by Jeffrey Kastner for Artforum as interweaving «the physical and social space of a dead cinema, a forgotten song and the inhabitants of a small town,» in relation to their most recent works, Flora and Bust, featured in the Swiss Pavilion of the 57th Venice Biennale for the exhibition Women of Venice, curated by Philipp Kaiser.

Mirroring the goddess of the fable, a ghostly protagonist (Zhao Tao) leads us through the world of Shanghai cinema via the Shanghai - Film Studio, to a restaging by Julien of scenes from the classic Chinese film The Goddess (1934), and finally to the streets of Modern and Old Shanghai.

The profile of artists working in moving image has been elevated in recent years by those who've made the leap into cinema — Steve McQueen, Sam Taylor - Wood, Gillian Wearing — and those taking over leading gallery spaces — Tacita Dean at Tate Modern, Pipilotti Rist at The Hayward.

It will be presented by 25 high - contrast black and white photographs, which are from editorial images of the 90's for VOGUE, HARPER»S BAZAAR, INTERVIEW and many other international magazines, to his personal work inspired by modern dance, landscapes, early German and East European cinema and photography.

Dzama collaborates often with other artists, and his work is collected by many of the gods of Hollywood and modern independent cinema.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

Since his Times Square Show debut, his pictorial universe has been incredibly consistent and meticulously staged: a cinematic landscape often flattened into eerie planes and characterized by classic foreign sports cars, French pop singers, camouflaged Spitfires and troop ships, icons of European cinema and snowy Alpine peaks — a series of very particular, rhapsodic infatuations, through which he has conjured a fully - realized, unironic, modern - day narrative mythology.

Museum of Modern Art May 6 - June 6 Curated by Joshua Siegel Few filmmakers in cinema history adhered to so rigorous an aesthetic as husband - and - wife team Jean - Marie Straub and Daniele...