Sentences with phrase «documentary form by»
He brought the story of Mildred and Richard Loving (already told in documentary form by Nancy Buirski) to Nichols, who responded: «I think this story can be very successful, but I'm probably not the one to make a mainstream version of this movie.»
http://lwlies.com/ Not exact matches
You will observe that not one of the books of the Old Testament (in its finished form) is of earlier date than the eighth century BC Before that time there existed traditions handed down by word of mouth, and various documentary records and compositions, which were used by later writers.
Helmed by Chapman Way and MacLain Way and featuring multiple appearances by their uncle and former Maverick himself Kurt Russell, the docu launched in the Documentary Premiere section of this year's Sundance Film Festival on January 20... In play right now with several buyers at Sundance, according to sources close to the film, Battered Bastards chronicles how in 1973 Bonanza actor Bing Russell formed what at the time was America's sole independent baseball team.
My participation was funded by the CPRC and the results form part of a Discovery Channel documentary.
After six months of work, the team formed by CSIC staff and the LuzLux production company, among others, has completed the documentary «Nanocosmos, a journey to the origins of dust grains, a road movie which talks about the technological and human challenge that lies behind the development of instruments in the area of Laboratory Astrophysics.
The Playlist is also a major supporter, claiming «fans of Polley's work to date will be delighted by a documentary that serves simultaneously as a gripping mystery, a moving record of a family and a fascinating investigation into the nature of truth, memory, and the documentary form itself.»
Formed in 2001 by Cuban and Todd Wagner through their holding company 2929 Entertainment, Magnolia Pictures primarily distributes independent films and documentaries.
The documentary takes as its guiding premise that the United States's endemic racism toward African - Americans stems from laws and forms of governance made predominately by white men who unconsciously hate themselves.
Film Review by Kam Williams Headline: Inspirational Documentary Chronicles Success of Inner - City Chicago Prep School Paul J. Adams, III was the principal of Providence St. Mel, a parochial school in an impoverished section of Chicago, when he was in formed by the Catholic diocese of its plans to close the institution.
While Porterfield's aesthetic gambit with Putty Hill — utilizing documentary techniques to convey a fictional narrative — resulted in a remarkable hybrid form of experiential cinema, I Used To Be Darker arguably ups the ante by pairing a similarly observational naturalism (sans interviews) with more traditionally - plotted melodrama.
Originally formed by Bill Pohlad in 1987, River Road's previous pictures include Doug Liman's Fair Game starring Sean Penn and Naomi Watts, Robert Kenner's documentary Food, Inc., Ang Lee's Brokeback Mountain and Lust / Caution, Sean Penn's Into the Wild, and Robert Altman's A Prairie Home Companion.
These letters form the basis of «Trumbo,» a documentary about the writer's life based on the play «Trumbo» by his son Christopher and featuring powerful staged readings of the letters by such performers as Brian Dennehy, Paul Giamatti, Nathan Lane, Liam Neeson, David Strathairn, and Michael Douglas — whose father, Kirk, interviewed in the film, helped break the blacklist in 1960 by insisting that Trumbo be credited as the screenwriter for «Spartacus.»
This has much in common with Steve James's award - winning documentary Hoop Dreams as it pursues and records the moment - to - moment responses of young people struggling to improve their lot, and in doing so reveals a penetrating socio - cultural study of contemporary America through a competition described by one parent as «a form of child abuse».
From Lorrie Moore's earliest reviews of novels by Margaret Atwood and Nora Ephron, to an essay on Ezra Edelman's 2016 O.J. Simpson documentary, and in between: Moore on the writing of fiction (the work of V. S. Pritchett, Don DeLillo, Philip Roth, Joyce Carol Oates, Alice Munro, Stanley Elkin, Dawn Powell, Nicholson Baker, et al.)... on the continuing unequal state of race in America... on the shock of the shocking GOP... on the dangers (and cruel truths) of celebrity marriages and love affairs... on the wilds of television (The Wire, Friday Night Lights, Into the Abyss, Girls, Homeland, True Detective, Making a Murderer)... on the (d) evolving environment... on terrorism, the historical imagination, and the world's newest form of novelist... on the lesser (and larger) lives of biography and the midwifery between art and life (Anaïs Nin, Marilyn Monroe, John Cheever, Edna St. Vincent Millay, Eudora Welty, Bernard Malamud, among others)... and on the high art of being Helen Gurley Brown... and much, much more.
Telling a range of stories about contemporary art and our community — from videos made by teens to an artist studio visit to short - and long - form documentaries — MCA videos capture it all.
The project combines my documentary photographs and photomontage with a long - form essay written by Sarah Dohrmann.
Operating between documentary and fantasy — especially in the form of science fiction — his practice is influenced by both conceptualism and surrealism.
I was inspired to make this photogram by two things: finding in the New York Times a documentary photograph of a house blown apart by a hurricane, and thinking about the notion of shape as form in high Modernist painting.
Influenced by fly - on - the - wall documentaries of the»70s, Turner Prize - winning artist Gillian Wearing has turned the form on its ear: recording her subjects» confessions, then re-pairing sound and image, mixing the voices of adults, children and relatives.
The high point of the show arrives in the form of two paintings by Mathieu Malouf that are each titled Over Your Cities, Grass Will Grow, the name of a recent documentary about the celebrated German artist Anselm Keifer.
Lockart's work is aimed to continuously renovate the essence of documentary, by incessantly questioning its form and meaning.
By appropriating the form of pageants and publications as well as, in other cases, documentaries and advertising, General Idea was able to move art outside the gallery space, often in political ways.
Inspired by Tarek Atoui's current exhibition The Ground: From the Land to the Sea at NTU CCA Singapore, this screening series features artist videos, documentaries, and filmic essays that examine how the image and the sonic create immersive ways for multiple sensorial elements to come together and form a singular space.
Of the same generation of German superstars as Andreas Gursky and Thomas Ruff, Joachim Brohm was similarly much influenced by Bernd and Hilla Becher's conceptual approach to the documentary form in the 1970s.
It's a role that has been reinforced by traditions of photojournalism, documentary photography, and anthropology, while taking on new forms and renewed urgency in recent years.
The documentaries created by Art21 were a new form of dynamic portraits capturing the Lives of the Artists of today, which made Susan, in the words of ICI Board Chair Patterson Sims, «the Vasari of our own times.»
Drawn from the title of a Robert Frost poem and a political documentary film by Emile de Antonio, the museum states that the exhibition «seeks to celebrate the ever - changing perspectives of artists and their capacity to develop visual forms that respond to the culture of the United States.
The survey, which was organized by Massimiliano Gioni, Margot Norton, and Natalie Bell, was dominated by work from the past decade, when Sala's ongoing ruminations on past versus present — initially expressed in a more - or-less straightforward documentary form — moved toward more elliptical studies of sited music renditions.
Born 1982, Auckland, New Zealand Education 2009 Meisterschule, Städelschule HFBK, Frankfurt am Main 2005 BFA, Elam School of Fine Arts, University of Auckland Solo exhibitions 2018 «Games of Decentralized Life» Galerie Buchholz, Cologne 2018 «The Founder's Paradox», MOCA Museum of Contemporary Art, Cleveland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «Shenzhen Entrepreneurial Form», Fine Arts, Sydney 2017 «FaaS — Feedback as a Service: Reflecting on messaging, debate and criticality inside a parliamentary discussion on internet governance», Bozar, Brussels 2017 «Simon Denny: Real Mass Entrepreneurship», C2 Space, OCT - LOFT, OCAT Shenzhen 2017 «Hammer Projects: Simon Denny», Hammer Museum, Los Angeles 2016 «Secret Power», Museum of New Zealand Te Papa Tongarewa, Wellington 2016 «Blockchain Future States», Petzel Gallery, New York 2016 «Business Insider», WIELS, Brussels 2015 «Products for Organising», Serpentine Sackler Gallery, London 2015 «Secret Power», New Zealand Pavilion, 56th Venice Biennale 2015 «The Innovator's Dilemma», MoMA PS1, New York 2014 «The Personal Effects of Kim Dotcom», Adam Art Gallery, Victoria University, Wellington 2014 «New Management», Portikus, Frankfurt am Main 2014 «The Personal Effects of Kim Dotcom», Firstsite, Colchester 2014 «TEDxVaduz redux», T293, Rome 2014 «Disruptive Berlin», Galerie Buchholz, Berlin 2013 «The Personal Effects of Kim Dotcom», mumok, Wien 2013 «All You Need is Data — The DLD 2012 Conference REDUX rerun», Petzel Gallery, New York 2013 «All You Need is Data — The DLD 2012 Conference REDUX», Kunstverein München 2012 «Full Participation», Aspen Art Museum, Aspen 2012 «Envisaging Vocational Rehabilitation» (with Joanna Fadyl), Westfälischer Kunstverein, Münster 2011 «Corporate Video Decisions», Friedrich Petzel Gallery 2011 «Corporate Video Decisions», Michael Lett, Auckland 2011 «Cruise Line», NAK Neuer Aachener Kunstverein, Aachen 2011 «Chronic Expectation: CFS / ME Documentary Restoration», T293, Rome 2011 «7 Unreachable Elevators», IMO, Copenhagen 2010 «Negative Headroom: the broadcast signal intrusion incident», Contemporary Art Museum, St. Louis 2010 «Negative Headroom: the broadcast signal intrusion incident», Halle Für Kunst, Lüneburg 2010 «Remote Tutorial: hate poems for travelers», Landings Project Space, Vestfossen 2010 «Introductory logic tutorial video», Artspace, Sydney 2009 «Celebrities» houses at night: a projection», Standard Oslo, Oslo 2009 «Starting from behind», Michael Lett, Auckland 2009 «Deep Sea Vaudeo», Galerie Daniel Buchholz, Cologne 2009 «Watching Videos Dry», T293, Naples 2009 «7 Drunken Videos `, Luettgenmeijer, Berlin 2008 «Aquarium Paintings (with Nick Austin)», Center, Berlin 2008 «Ruined by Sheer Confidence», Caribic Residency, Frankfurt am Main 2008 «Alexandra Bircken / Simon Denny», Ursula Blickle Stiftung, Kraichtal 2008 «Recent Haircuts», Uplands Gallery, Melbourne 2008 «Recent Haircuts», Gambia Castle, Auckland 2007 «Compression Club», Michael Lett, Auckland 2007 «Monthly Cowards», Gambia Castle, Auckland 2007 «Paltry Motion», Dunedin Pubic Art Gallery, Dunedin 2006 «Old Entertainment System», Window, Auckland 2006 «Scape», Art & Industry Biennial, Christchurch 2006 «Old Things», Michael Lett, Auckland 2005» Arranging Sympathies», Volume Series, The Physics Room, Christchurch
Instead, united by a methodical, often distanced perspective on architecture and landscape as a form of documentary evidence, his images summon the personal experience of public space and the social aspirations encoded in concrete, rebar, clay and dust.
2755 miles is primarily based on video research and forms of experimental documentary practice that engages with issues of migration and displacement by concentrating on the cultural and communal worlds of clandestine Pakistani refugee workers residing at the outskirts of Athens.
«2012: Time for Change» is by no means perfect, but rather than just leaving you feeling blue, as some of the recent spate of documentaries have done for me, it just could reinvigorate your personal quest for being green, whatever forms it might take.
It would be conducted online rather than on paper, designed primarily for use by litigants in person, investigatory rather than purely adversarial, with conciliation (including mediation and ENE (early neutral evaluation)-RRB- as a mainstream rather than only alternative form of resolution and face - to - face hearings for resolution only if documentary, telephone or video alternatives are unsuitable.
Tim Dutton QC, a professional discipline specialist at London's Fountain Court, who took part in a Panorama documentary exposing misconduct by expert witnesses, said in his experience «charlatan forms of behaviour» by expert witnesses is rare.
South Africa's own pavilion features some physical installations pieces from Pretoria, a short documentary film of the inaugural event and the whole collection of 150 citizen - led projects by 1,000 participants in the form of a catalogue available at the pavilion and bookstore.