Sentences with phrase «cinematic medium in»

The inclusion of films by Léger, Duchamp, and Warhol provide an abbreviated survey of the artists using cinematic medium in the modernist era (or, the age of technical reproducibility — sorry, I couldn't resist the once - obligatory Walter Benjamin reference, however superseded it has now become).

The presumptuously titled Captain Underpants: The First Epic Movie, based on Dav Pilkey's first four children's books in the Captain Underpants series (all of which have amusingly lengthy titles themselves), pokes a lot of fun at the concept of superheroes, the concept of action movies and the very cinematic medium in which it's found itself.

Not exact matches

I have no trouble recalling my maiden voyage in Mr. Malick's cinematic set - ups, 6 years ago THE NEW WORLD (2005, and a medium 6/10 in my rating system), which I almost forsook due to an extreme frazzle (a grudge rising from anger more than

In a nutshell, the filmmakers weren't bold enough to even edit the songbook (a.k.a. trust / dare their base audience) let alone create an actual script that allowed for quiet, CINEMATIC moments (was it to much to ask for a freakin» mise en scene that allowed for medium 2 - and 3 - shots when lyrics overlapped?!)

I thoroughly loved this film, and Blood Simple boasts the quality craftsmanship that would make each Coen Brothers film so unique in the cinematic medium.

His visionary storytelling is what makes him unique, and he tackles big, ambitious topics that are terrific entertainment for film enthusiasts that are looking for some of the finest «art» films in the cinematic medium.

The cinematic medium has seldom felt as free as it does in Rowlson - Hall's hands» - Peter Debruge, Variety

The cinematic medium has seldom felt as free as it does in Rowlson - Hall's hands» — Peter Debruge, Variety

by Bill Chambers Such is the level of cinematic sophistication in Sergio Leone's Once Upon a Time in America that all of the miserable things that happen in the picture make you giddy, filling you with the joy that is basking in an artist's command of a medium.

Among the highlights of this year's Ivy Film Festival will be the April 14 panel «She Scores: Women in the Musical & Cinematic Arts,» offering students first - hand insight into how composers and music supervisors work to incorporate music into a visual medium.

The question of the title of the film therefore takes on a deeper resonance as one considers the tantalizing mélange produced by a marriage of noir, the western, and a jazz movement founded on unrest and violence, sold through a uniquely Japanese medium (animé, natch) that has been the vehicle for some of the most profound examinations of nihilism, violence, and romanticism (thinking especially of masterworks like Grave of the Fireflies and last year's Spirited Away) in the modern cinematic vocabulary.

And in a medium of formulaic genre styles that thrive on remakes, reboots, sequels and extended cinematic universes, it's perhaps a valid point to make.

Finding a cinematic equivalent for a literary vision is one thing; equaling its power in the context of another medium is something else entirely.

This kind of integrated storytelling is what «Agents of S.H.I.E.L.D.» promised from the very beginning, and although it may seem gimmicky, it allows Marvel Studios to connect the two mediums in a way that expands their cinematic universe without making the show feel essential to understanding the movies.

The three films in Criterion's magnificent box set Three Silent Classics by Josef Von Sternberg may be all the evidence we have of this era but they are more than enough to show his mastery of the medium and the rapid evolution of his style, both a visual sculptor and as a cinematic storyteller.

The Super 35 capture format ensures excellent fine detail and a steady but refined light - medium grain texturing that results in a pleasingly cinematic image.

Cinematic book trailers take what's already working so well in the book, and put it onto a computer screen in an incredibly accessible web medium.

ComiXology's Guided View reading technology transforms the comic book medium into an immersive and cinematic experience, helping comiXology become a top ten grossing iPad app in 2011 and 2012 and the top grossing non-game iPad app in 2012 and 2013.

In a medium like gaming, which affords so many other possibilities via cutscenes or cinematics outside of the game, not taking advantage of that means we've loved characters despite the storytelling and not because of it.

At the talk on the day of the press preview, Bajac spoke about the parallels between the Post-Internet age and the cinematic culture of Germany in the 1920s and»30s, the context in which the early film critic Siegfried Kracauer called still photography an «outmoded medium.»

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

Other artists» approaches to filmmaking approximated various tropes and moods of poetry, bending the medium to poignant ends alternately vested in distance and immediacy: Stanya Kahn's evocations of abject absurdity through stand - up comedy; Barry Doupe's alienated dreams told in disjointed narrations and flattened, chromatically charged figurations; Ryan Trecartin's bewilderingly familiar stream - of - consciousness rants grounded by a intuitive, cinematic fluidity.

Using cultural matter as his material - medium, he references art, history and theory to form a spatial and temporal narrative arc made up of intercommunicating texts, combined with an interest in the sculptural possibilities of cinematic structures and mise en scène.

The path forward in art - historical terms was split between those artistic movements more aligned with deeper investigations into the increasingly essential properties of a particular medium or reductive practices (e.g., Abstract Expressionism, Color Field painting, Minimalism) and those movements that actively sought an expansion of the arts into a plurality of new forms, hybrid media, and interactive experience (e.g., expanded cinema, intermedia, installation art, performance).13 Of these choices, hippie modernism would follow the latter course through experiments that drew upon the theatrical qualities and the participatory actions of the Happening, embraced Fluxus's democratic spirit in its everyone - is - an - artist philosophy, explored the work of experimental filmmakers seeking to expand cinematic experience, and experimented with the fluid nature of light and sound as well as the interactive qualities of kinetic art.

In his introduction John Ashbery calls the book «the finest work of Surrealist fiction,» noting that de Chirico «invented for the occasion a new style and a new kind of novel... his long run - on sentences, stitched together with semi-colons, allow a cinematic freedom of narration... his language, like his painting, is invisible: a transparent but dense medium containing objects that are more real than reality.»

Her work is informed by histories of narrative cinema and experimental film, but more precisely concerned with digital video, and in particular its contemporary heterogeneity as a medium used for navigation, advertising, knowledge organisation as well as cinematic special effects.