Sentences with phrase «close viewing of the film»

A specific activity that really demonstrates this approach is the close viewing of the film «Pigeon,» a powerful 11 - minute piece about one woman's decision to save a Jewish stranger during the Holocaust.

Not exact matches

There is a lot to learn from Alfred Hitchcock's work, his narrative was close to perfect and the skill to create suspense by depriving us of the payoff and restricting our view forcing us to imagine how bad the situation was, for the longest time just to deliver it at the peek of our attention, and that my friends, that is a gift for the film fanatic as for the filmmaker.

Credits began following the trademarked opening of a close - up view of a match - head igniting, and the lighting of a sparking fuse, accompanied by a blindingly - fast montage of action scenes from the film - and of course, Lalo Schifrin's memorable theme music.

On a purely narrative level, however, the introduction of some of the villains feels somewhat awkward, as the film has to abandon its point - of - view close to Ruth to show what kind of people they are before they are set onto a collision course with Ruth and Tony, which doesn't quite feel organic.

«4K Ultra HD with HDR is an incredibly exciting new home video format that allows a much closer recreation of viewing the original film print,» said Christopher Nolan.

Part heist flick and part history lesson, Closer to the Moon is best viewed as an entertaining, albeit flawed, entry in the sub-sub-genre of films about the aftermath of WWII.

The film keeps the repeated knowledge from becoming boring by giving us the feel of an insider's view into the workings of the CIA and the closed doors of key political discussions.

The film follows five incidents from Jack's point of view as law enforcement closes in on him.

The closest the film comes to a point of view is its lukewarm attempts at subversively undermining the fan culture it's luring.

Told in close - ups viewed through the grainy filter of Super 16 film stock, Alex Ross Perry's third feature takes its influences from the best of Seventies cinema, marrying the wit and navel - gazing of Woody Allen with the laid - back cool of Robert Altman (circa The Long Goodbye), while the film evokes John Cassavetes in its intimate portrayal of a relationship in tatters.

Perhaps more relevant to family viewing is the obvious message embedded in this film — one that is likely close to the heart of the aging Clint Eastwood, who skillfully directs this movie.

So for this film more than any of his others, it certainly is beneficial (though just as certainly not necessary) to walk in with some prior knowledge of Smith's «View Askew - niverse,» which officially closes with Strike Back.

The film uses the long outmoded 1.37:1 aspect ratio (with rounded edges) to keep a close and tight view of the protagonist, while the horrors around him remain largely out of focus and partially out of view.

From the film's opening passage, Lubitsch demonstrates his new facility with the norms of Hollywood editing: following a humorous inter-title stating that «Lady Windermere faced the grave problem — of seating her dinner guests,» Lubitsch opens with an establishing shot of a voluminous interior with the woman seated at a desk; the director dissolves to a medium - close - up of the woman arranging her placards; and then to point - of - view close - up as she places Lord Darlington's carefully beside her own, her fingers softly tapping the folded paper.

The opening section alone evokes this seeming contradiction: Hu's constant camera motions, cutting judiciously to closer and closer views of the central fort, tease out so much of the haunted textures that define roughly two - thirds of the film, but crucially never come close to spelling out the layout of the structure.

As with some other segments of the supplements, these pictures fly by exceedingly quickly in the film, so it's fascinating - though disturbing - to get a closer view of them.

In closing, there's enough of interest to merit a viewing of The Village, and fans of Shyamalan's other films will surely be intrigued to check it out.

In this, his Cannes diary, he gives us an up - close view of one of the world's most glamorous events, a mecca for film lovers.

SIFF 2014 Winners and Returning film (Sean Axmaker, Parallax View) SIFF Notes: Pick of the Day (Stranger) Closing Weekend: Seattle International Film Festival highlights (Moira Macdonald and John Hartl, Seattle Times) SIFF Week 4 (Seattle Weekly, Brian Miller) SIFF Roundtable: Final Days (The Sunbreak) Week 3: Seattle International Film Festival highlights (Moira Macdonald and John Hartl, Seattle Times) Week 3 at SIFF (Brian Miller, Seattle Weekly) Week Three Highlights (Three Imaginary Girls) SIFF 2014: Picks for Centerpiece Weekend (The Sunbreak) Week 2: Seattle International Film Festival highlights (Moira Macdonald and John Hartl, Seattle Times) Week 2 at SIFF (Brian Miller, Seattle Weekly) Week Two Highlights (Three Imaginary Girls) Tom Tangney's best bets for SIFF (MyNorthwest) Week 1: Seattle International Film Festival highlights (Moira Macdonald and John Hartl, Seattle Times) Week One Highlights (Three Imaginary Girls) Keep Reading

Still, audiences are subjected to the bloody execution of two Soviet spies, close - range gunfire, brief views of grainy homemade porno films, some sexual comments and a strong expletive.

It's unfortunate that a film with such gritty and sometimes horrific realism would switch gears so close to the goal line, becoming a typical formulaic thriller, because for all intents and purposes it had a strong and very definite point of view that it wanted to drive home and had to that point set us up so beautifully to receive it.

This film, which made every attempt to stay as close as possible to the theoretical reality of what life would be like after the bomb — lack of electricity, fallout, and just the general devastation — was a harsh viewing experience.

Told in close - ups viewed through the grainy filter of Super 16 film stock, Alex Ross Perry's third feature takes its influences from the best...

About a mile outside Lindos itself, the hotel has lovely views over its private beach and it is also close to the rocks of Navarone — the setting for the 1961 Gregory Peck film.

The first surf film shot in 4K, View From A Blue Moon follows the world's most dynamic surfer John Florence and his closest friends from his home on the North Shore of Oahu to his favorite surfing destinations around the globe.

Watch as the game develops through split - screen views and close - up shots worthy of any highlight film, and see if you can catch the numerous over-the-top animations of the large and detailed player models.

The experience of viewing these paintings might remind us of a filmed sequence in which a camera slowly closes in on an image of a head.

The film's point of view is that of a computer - controlled camera on an orbital path, cycling between distant views and extreme close - ups.

The artist allows the viewer to spend time with the image, enabling a closer examination and consideration of a view that would normally only be seen in their films for a few seconds.

It's a large - scale projection, shot on black - and - white 35 mm film transferred to DVD, of a close - up, navel - to - thigh view of a man and woman having rear - entry sex, which runs repeatedly for a little over four minutes.

On view is the film «Addio Del Passato» (So Closes My Sad Story) in which the character of Lord Nelson's estranged wife, sings the eponymous aria from the last act of Verdi's opera, «La Traviata».

Now on view at the Museum of Modern Art, this addicting and idiosyncratic 13 minute film explores various creations myths, through a dizzying display of modern and ancient artifacts and images which open and close in windows on the screen, set against a hip hop beat and spoken word poetry on the origins of life, in some ways taking aim at the history and science of anthropological collections.

The flares from the camera lens acts as a compositional force driving the movement of the film through close - ups of seemingly unconnected images including plants, a nude woman, a view from a window, an arabesque carpet and a burning candle.

In the back gallery on view is the film Addio Del Passato («so closes my sad story») in which the character of Frances Nisbet, Lord Nelson's estranged wife, sings the eponymous aria from the last act of Verdi's opera La Traviata.