Not exact matches
Everything about this
film oozes class; the 60's setting is beautifully captured with it's attention to detail
and strikingly rich
photography by Eduard Grau; the slow motion scenes with overbearing sound effects; the subtle changes of
colour saturation providing an excellent technique in developing the mood
and feeling of Firth's character
and a fitting soundtrack to accompany the lush imagery.
Adam Arkapow, the talented director of
photography who has worked with both Kurzel
and Fassbender in the past, creates an exceptional pallet of
colour for the look of the
film, especially for the scenes set in the 15th century — a section where the
film is at its absolute best.
Dorothea's 1940s jazz rubs shoulders with Talking Heads
and Black Flag; still
photography mood boards give way to psyched - out,
colour - saturated «
film burn» effects, which nod to the California hippie hotbed that spawned the
film's other key character, William (Billy Crudup).
King of Jazz (John Murray Anderson, Pál Fejös, 1930) This newly restored two -
colour Technicolor treat is a revelatory combination of Art Deco surrealist set - pieces, acrobatic choreography
and démodé trick
photography bouncing off extremely dated but charmingly goofy humour
and jazz which could scarcely be any more trad (notwithstanding that Gershwin's glorious «Rhapsody in Blue», written for the «King of Jazz» himself, bandleader Paul Whiteman,
and used prominently in the
film, was a pointer to certain new directions).
This book introduces some of Sherman's most important works, from her seminal 1970s series Untitled
Film Stills, which references
film noir movies by such directors as Alfred Hitchcock
and Jacques Tourneur, to her progression into
colour photography in the 1980s series Centerfolds.
Laurie Simmons started working with
colour photography early in her career
and her pictorial language has affinities with
film and advertising.
Using an unusual technique of
colouring gelatine silver prints by hand or drawing over
colour prints — part
photography and part painting — he creates an imaginary reality that reflects both the paradoxes of the Middle East today
and the flamboyant fantasies of the golden age of Egyptian
film in the cosmopolitan pre-revolutionary years in Cairo.
With painting, sculpture,
film,
photography, printmaking, architecture
and drawing all on display there is plenty to spark your imagination so join us
and lose yourself in Michael Craig - Martin's summer of
colour.
Working in
film and photography, Prager harnesses vivid
colour and unconventionally manufactured scenery in every still.