Sentences with phrase «documentary material which»

Messina explores ways that he can create a body of work that can exist entirely through secondary sources and documentary material which stand in for the — only ever simulated — finished artworks themselves, thus allowing the viewer to «imagine them into completion.»

Not exact matches

Different genres of movies portray information differently, and so just as you would not expect accurate history and science to come from a love story, even documentaries, which often do portray accurate history and science, reveal history and science from a particular perspective, carefully selecting material to make a certain point, or tell a certain story.

It quoted a letter from BCL Burton Copeland, dated September 14th 2006, which stated: «Very little documentary or other material in relation to Mr Mulcaire, Nine Consultancy Limited [Mulcaire's company] or Mr Goodman exists.

Scorsese has also directed numerous documentaries including the Peabody Award winning No Direction Home: Bob Dylan and Elia Kazan: A Letter to Elia; as well as Italianamerican, The Last Waltz, A Personal Journey with Martin Scorsese through American Movies, Il Mio Viaggio in Italia, Public Speaking, Shine a Light and George Harrison: Living in the Material World, for which Scorsese received Emmy Awards for Outstanding Directing for Nonfiction Programming and Outstanding Nonfiction Special.

There isn't a cover - all «making of» documentary, but there is a truck load of material which is equal parts informative and enjoyable whilst maintaining the unusual nature of the film.

Disc two includes nearly six hours of additional material including a 196 - minute making - of documentary, entitled Strength and Honor: Creating the World of Gladiator, and as if this was not exhaustive enough more behind the scenes technical information is provided in the five - part Image and Design section which includes featurettes on sets, costumes, and weapons as well as extensive photo galleries.

For the supplemental materials, there's an excerpt from the documentary Michelangelo Antonioni: The Eye That Changed Cinema; Blow - Up of «Blow - Up», a new documentary about the film; two interviews with David Hemmings, one on the set of Only When I Larf from 1968, and the other on the TV show City Lights from 1977; 50 Years of Blow - Up: Vanessa Redgrave / Philippe Garner, a 2016 SHOWstudio interview; an interview with actress Jane Birkin from 1989; Antonioni's Hypnotic Vision, featuring two separate pieces about the film: Modernism and Photography; both the teaser and theatrical trailers for the film; and a 68 - page insert booklet containing an essay on the film by David Forgacs, an updated 1966 account of the film's shooting by Stig Björkman, a set of questionnaires that the director distributed to photographers and painters while developing the film, the 1959 Julio Cortázar short story on which the film is loosely based, and restoration details.

(Italy) George Harrison: Living In The Material World, music documentary directed by Martin Scorsese (USA) Goodbye First Love, directed by Mia Hansen - Løve, tracks a first love over eight years (France / Germany) Pina, directed by Wim Wenders, which is a 3D dance film and tribute to Pina Bausch (Germany / France / UK) Play, directed by Ruben Östlund, which is a provocative movie about African immigrants taking advantage of Swedish peacefulness (Sweden) Policeman, directed by Nadav Lapid, which includes wealthy anarchists and anti-terrorist police (Israel / France) Sleeping Sickness, directed by Ulrich Köhler who won Best Director at the Berlin Film Festival.

In the superb half - hour documentary extra, containing the pith of the full interviews which appear on the bonus disc alongside mostly inessential extra material, Spall tells us how, over two and a half years of art lessons from artist Tom Wright, he showed some aptitude and ended up «as good as he [Turner] was aged nine».

In a statement included in the movie's publicity materials he describes the complicated relationship between representations of violence in both documentaries and fiction and our perceptions of the reality of violence, then spells out his intentions for Funny Games: «How can I restore to my representation the value of reality which it has lost?

In addition to a disc for each of the films, each of which has deleted scenes, «Tales from the Future» documentary segments, audio commentaries and various other bonus material, there's also a separate bonus disc that includes a variety of additional mini-docs, plus a 2015 message from Doc Brown, two new commercials (one for «Jaws 19,» the other for a Hoverboard), and two episodes of «Back to the Future: The Animated Series.»

The most interesting and informative of the new material is the documentary «The Road To The Grandmaster», which is sadly only available in untranslated Cantonese.

This is really a shame, not only since the movie played at the Sundance Film Festival in 2012 (where it picked up the World Cinema Cinematography Award in Documentary) and would in theory have some interviews and press material from that event, but because the subject matter itself cries out for the deeper exploration and updates to which the home video format is uniquely suited.

Minecraft: The Story of Mojang is charming fluff, a sweet tribute to a popular game, and its piecemeal «best of» style makes for a pleasant enough affirmation for fans who want nothing more than a brief glimpse behind the scenes, but for a documentary about a game in which players are compelled to dig ever deeper in search of raw material, it's disappointingly ironic how many blocks of narrative ore the film fails to unearth.

The site contains twenty - five free lesson plans and ten free kits, three of which include Academy Award - winning documentary films and the materials to teach them.

It involved several planning sessions in which the pair determined the content of the documentaries, the scope and sequence of instruction, the development of the student materials, and the organization and management of the technology required.

CTSMA collects documentary material such as studio detritus and discarded trials, which provide a view into the artist's creative process.

The documentary material that constitutes the Archive and Library is structured into holdings and collections, which include the archives of individuals and entities, artist's books, posters, photographs, invitations and pamphlets, etc., as well as reference books and audiovisual documents.

The exhibition features documentary material that underscores Benglis's interest in exploring and subverting gender roles as well as pioneering video works which tackle themes of gender politics and experiment with the formal and performative potential of what was then a new medium.

In addition to providing a fresh look at scores of works of art that have not been seen together in half a century, the exhibition also offers a selection of images and documentary material from The Museum of Modern Art Archives, which illustrates the linked histories of Abstract Expressionism, MoMA, and New York City during this pivotal moment in modern art.

The Morris Louis Estate papers include records of gallery exhibitions, mostly André Emmerich Gallery; artwork inventories; legal records concerning the lawsuit Bernstein v. Brenner; financial records of the sale of Louis» artwork; printed materials; writings about Louis; photographs of exhibition installations and artwork; and posthumous project files which include documentation of film projects by Robert Pierce Productions, a catalog raisonne, PBS documentaries, video recordings of the exhibition «Morris Louis Now», and numerous sound recordings of interviews with artists, many with transcripts, discussing Morris Louis and conducted by Anita Faatz.

Comprised of material shot for Laura Poitras's Academy Award - winning documentary Citizenfour (2014) about whistle - blower Edward Snowden — for which the artist was a contributing cinematographer — instruments of surveillance are revealed in scenes of bucolic landscapes, uncharacteristically marked by satellite dishes and radomes, busy city centres and moody seascapes.

For the duration of the «The Roberta Breitmore Series» (1974 — 78), Hershman Leeson produced documentary material around the character's life, including Roberta's Body Language Chart (1978), on display here, which comprised black and white photographs of Roberta sitting in various positions during a therapy session, accompanied by short texts offering clichéd interpretations of her body language.

The Boston - based design practice called over, under curated the exhibition, which tells this history from multiple perspectives, using archival maps and drawings, documentary footage, protest materials, and period photography.

«She is also at the forefront of experimental approaches to film, combining recorded staged performance, documentary footage, and found archival material, which she overlays with narration ranging in tone from poetic to political.»

Vik Muniz was the subject of the Academy Award nominated documentary film Waste Land (2010) which followed his work with a group of catadores — pickers of recyclable materials — in Jardim Gramacho, the world's largest garbage dump located outside Rio de Janeiro.

Since the millennium and, above all, in the last decade there have been more and more art exhibitions with documentary aspects of cultural history, which feature source materials from art archives and thereby demonstrate a recontextualisation of the presented artworks.

This retrospective brings together the breadth of his practice to reveal the unique beauty and radical nature of his punnings, plans, performances, and interventions evident in the many media in which he worked: the sculptural objects (most notably from building cuts), drawings, films, photographs, notebooks, and documentary material.

The bulk of the «critique» also went off at considerable length into tangents, and focused for the most part on attacking persons, materials, and documents that were, if at all, only minimally or incidentally connected with the documentary, rather than addressing the documentary itself, which gave the «critique» an appearance of having much to say, Finally, the «critique» concluded with a litany of completely unsupported and largely unsupportable statements.