Sentences with phrase «cinematic representation»

Every year as we move into the summer blockbuster movie season there never seems to be a lack of cinematic representations of impulsive vengeance.

The film works remarkably well as an expose of the lies that relationships (parent / child, master / servant, lovers, etc.) can be founded on, especially the lies in those idealised cinematic representations of relationships we often consume and take for truth.

One way or another, Morrison's work puts cinematic representation into abyme, forcing the spectators to confront the demons or the unexpected beauty emerging from the most cliched narrative tropes.

Giants of motorsport Ayrton Senna, Niki Lauda and James Hunt have been subject to cinematic representation in recent years.

Time appears to slow down in Vieux's paintings like it does for the lover in Death Valley — they visualize cinematic representations of time warping worm - holes while objects from an exploded modernist home fall slowly through the air, psychedelic guitar vibrating in the background.

Focusing on the mechanics of representation — particularly cinematic representation — its metaphoric potential and its engagement with reality, her art addresses processes of thought and their relationship to subjectivity, narrative, place and time.

Somewhat unsurprisingly, the CGI trailer shows things that aren't sand eroding and blowing away as sand because that's just what you do in a modern cinematic representation of Egypt apparently.

They are the cinematic representation of what you would get if you stretched out my Independence Day homage to 90 minutes; it is a home movie of a child playing with his or her action figures and play set.

Nevertheless, J.J. Abrams does more for the cinematic representation of Star Wars with The Force Awakens than anything has in the last thirty plus years.

Pictures / New Line Cinema and director Brad Peyton give the classic Midway Games arcade game a cinematic representation with the film Rampage.

In Ratcatcher and the amazing Morvern Callar, the director imagined lives and experiences close to home in the UK and off the grid in terms of cinematic representation.

Here, it's a prettified backdrop for the emotional adventures of people who are essentially tourists — something you might expect from one of James Ivory's own films but hardly from Guadagnino, whose I Am Love was so fascinating because it explored an altogether new variant on the cinematic representation of modern Italian identity.

The film is shot in a way that often gives the viewer a cinematic representation of light distortion or what Gina might be experiencing.