Sentences with phrase «color film stills»

The exhibition is accompanied by a catalogue edited by Klaus Biesenbach, with essays by Susan Sontag and Rainer Werner Fassbinder as well as 570 color film stills, the complete screenplay, biography, bibliography, and filmography.

Not exact matches

The texture will still be watery and separated, with a possible cream - colored film on top, which is normal.

Even if you allow for the the fact that the film is geared towards the 5 - year - old set, it's still a pretty dreary experience, made even more so by screamingly vivid colors, uninspiring animation and grating songs.

More bittersweet than some sugar - coated, rose - colored ode to motherhood, the film pulls no punches in capturing the messy, unglamorous minutiae of parenthood, whether it's the sight of a bag of breastmilk falling over and spilling on to the counter, or Marlo being told by a coffee shop patron that the decaf coffee drink she orders still contains trace amounts of caffeine, or Marlo trying to lose her baby weight and catch up to a college - aged jogger.

That film followed a black couple wandering the streets of San Francisco after a one - night stand, pondering the gentrifying city and whether people of color could still find a place in it.

Right now, «The Wolf of Wall Street» is my favorite film but there's still some 2013 releases I'm eager to see like «Upstream Color», «Her» (which I'll see on Sunday), «The Past», «Like Father, Like Son», «Labor Day», and several others.

Much as Michael Mann's Public Enemies created a disconnect by looking like home video at certain points, the period simply requires film, or at least it does for right now with digital photography still figuring out how to look good with the entire color spectrum.

Features commentary by film noir historian Alan K. Rode, who hosts the track and provides most of the production comments, and critic / noir maven (and fellow MSN writer) Kim Morgan, who chimes in for color commentary (and an obsessive appreciation of the pickle that J. Carrol Naish chomps in an early scene; Kim, sometimes a pickle is just a pickle) plus a gallery of stills and advertising art.

While still with Cleveland, Brown made his film debut in the 1963 Western Rio Conchos, an event deemed worthy of a four - page color spread in Life magazine.

The darker color palette takes some time to get accustomed to, but it's still a vast improvement over the visual appeal of the last film on Blu - ray.

The color are sharp and the even though the film is screaming 1980's it still looks sharp.

It's almost impressive for a film to somehow be so packed with style, polish, and color, and still be this boring and disengaging.

Especially since the film was low - budget, the colors are sharp and the overall presentation still holds up very well after all those years.

This is a question of point - of - view, and the fact is, films about and by women and people of color, regardless of quality, are still relegated to the back pages.

Acting as his own uncredited cinematographer, he drenches the film in faded but still - rich color (like Technicolor worn soft), buttery walls and gentle firelight.

But it's still dicey, the way McDonagh risks trivializing police brutality by presenting it as a character flaw, especially given how few scenes, lines, or traits he affords the film's people of color.

Nevertheless, it's still rare for a Hollywood studio to put this much money — Black Panther's budget was $ 200 million — behind a film made by and starring people of color, so the movie's outsize, rampant success is meaningful.

Audio Commentary by Updated 2003 Audio Commentary by Film Historian Bruce Eder, and Herrmann Biographer Steven C. Smith / «Here Is A Man» preview version comparison (4:37) / Reading of «The Devil & Daniel Webster» short story by Alec Baldwin (33:41) / Radio Plays: «The Devil & Daniel Webster» (29:50) from Aug. 6, 1938 + «Daniel Webster & the Sea Serpent» (29:43) from Aug. 1, 1937 / «About the Columbia Workshop» essay / «The Devil In Context»: 6 - part Bernard Herrmann score essay with indexed film clips and 4 stills / Still and Poster Gallery with 12 images / 12 - page colour booklet featuring an essay by author Tom Piazza, and original 1941 New York Times article by Stephen Vincent Benet, and Color Bars / New high - definition transfer with restored image and sound / 12 page colour boooklet

Mickey appeared in color for the first time in 1935 in The Band Concert and this short film was so innovative that critics still consider it to be a masterpiece.

Last week, Bay showed off the newest iteration of Bumblebee, which is now a sixth - generation Chevrolet Camaro and still sports the same bright yellow exterior color as the original one in 2007 film.

For a final paper in college, I was supposed to critique a film or play; at the eleventh hour I still hadn't seen any performance, so I wrote about leaves changing color in the fall.

This enhanced eBook contains the full text of the bestselling novel, and exclusive movie content such as: five video clips from the film; the director's movie shooting script; video interviews from cast and crew — including Anne Hathaway and author / screenwriter David Nicholls — about their connections between the book and the film; and a reading group guide featuring full - color movie stills throughout.

Chris Larson, Land Speed Record (still), 2016, installation with color digital video, black - and - white Super 16 mm film, sound, and sculpture.

Tamara Henderson Accent Grave on Ananas (film still) 2013 16 mm color film with optical sound 2:44 minutes Sound Credit: Dan Riley.

Pat O'Neill: still from Runs Good, 1970; three - channel continuous video projection, transferred from 16 mm film; color, silent; BAMPFA, museum purchase: Phoebe Apperson Hearst, by exchange.

Gillian WEARING Self Made 2010 color film with sound 84 min Still of Lesley Robinson Photo Credit Dean Rogers © Self Made Prod.

Still from the new upcoming film - essay on the New Color.

Brent Green: still from Gravity Was Everywhere Back Then, 2010; 16 mm film and digital photographs transferred to digital video; color, sound.

Yosef's brushwork here, in soft but commanding horizontal lines, reads less like a film still and more like the static of an early color television caught between channels, or one that has been redacted or blocked from non-subscribing viewers.

The figure — the head — is captured with the qualities of a film still, caught within a frozen and blurry moment, depicted in a reduced palette of colors that are rendered in a series of horizontal bands of paint seemingly pulled across a smooth surface — slick and evocative.

Jeremy Blake, Station to Station: Carbon Sink Park, 2001 Still from DVD with sound for projection or plasma screen 16 minute continuous loop Jeremy Blake, an up - and - coming artist who sought to bridge the worlds of painting and film in lush, color - saturated, hallucinatory digital video works, has died.

In order to deconstruct each of the movies, she begins by researching the film and searching for stills that are structurally interesting with a full array of colors.

Moffatt's large color photographs are evocative of film stills but are absurdly — and unnecessarily — over-stylized to signal their artifice.

Still from super-8mm film transferred to high - definition digital media, color, silent.

Marion Cajori and Amei Wallach, Louise Bourgeois: The Spider, the Mistress, and the Tangerine, 2008, still from a color film in 16 mm, 99 minutes.

The carefully - executed compositions also draw both on Cindy Sherman's early film stills series and on the fellow photographer's later use of color.

Schulnik, for example, used her own garden as a character in one of her short films; Stills & Strokes projected colors and geometric shapes onto the leaves of plants in botanical gardens; and DiMattio filled the sculptures in her exhibition with dramatic and unruly flowers.

Tacita Dean, Fernsehturm (still), 2001, 16MM color anamorphic film, optical sound, 44 minutes.

Jack Smith, Normal Love (film still), 1963 — 1965, 16 mm film (color), sound on CD; ed.

Zarina Bhimji Still from Waiting, 2007 35 mm color film, HD transfer, single screen installation Duration: 7» 48» Courtesy the artist

These pieces draw from individual colors found in the film still paintings.

Extending these ideas, Kantor investigates the manner in which color is used and interpreted through another series of paintings included here, based upon film stills used in the studio setting.

Right: Nancy Holt, Sun Tunnels, still from a 16 mm color film, 26 minutes.

Sigmar Polke, German, 1941 — 2010, Still from Soot Paintings (Rußbilder), 1990, 16 mm film transferred to video (color, silent), 42:12 min.

Still from City Slivers, 1976, 16 mm film, color, 15 minutes.

GILBERT & GEORGE The World of Gilbert & George (still frame), 1981 16 mm color film transferred to video dimensions variable LM19807

Sigmar Polke, German, 1941 — 2010, Still from Quetta's Hazy Blue Sky (Quetta's blauer dunstiger Himmel) / Afghanistan — Pakistan, c. 1974 — 76,16 mm film transferred to video (color, sound), 34:33 min.

Jennifer West, Daisies Roll Up Film (16 mm color and b & w film neg rolled with hard boiled eggs, oranges, lemons, avocados, pickles, green apples, milk and watermelon — a remake of a scene from Vera Chytilova's 1966 film, Daisies — rolling off the bed performances by: Mariah Csepanyi, Finn West & Jwest, lit with black light & strobe light), 2008, video still, black - and - white and color 16 mm film transferred to digital video, 5:53 minutes.

Its «retro» sensibility is augmented by the use of old - school photogravure for the still images and 1970s color - reversal film stock for the three - screen video installation.

Meanwhile, a video and set of color - saturated, Old Hollywood - style film stills by Alex Prager was estimated at around $ 40,000, but brought in $ 62,500, setting a new record for the artist.