Sentences with phrase «documentary materials from»

(For the record, there's a lot of otherwise - AWOL documentary material from the SE that I suspect got warehoused in the Datastream.)

On view in the East Building Study Center from September 30, 2016, through January 29, 2017, the National Gallery of Art Library presents an exhibition of ephemera and documentary material from the Dwan Archive.

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.

: Art and Black Los Angeles,» a comprehensive catalog edited by curator Kellie Jones with contributions by Jacqueline Stewart, Naima J. Keith, and Franklin Sirmans, among others, highlights participating artists and their works, and features documentary material from the period such as exhibition posters and promotional cards.

The large screens mine the horror film genre to explore fantasies of occult powers in young children, while the small screen simultaneously shows documentary material from a pilgrimage to visit children who have had authenticated religious visions.

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.

Bonus materials carried over from the previous Blu - ray Disc release, include a documentary narrated by Ed Harris on the issue of space junk that is crowding near - Earth space, and a short additional scene that shows the other side of a radio communication between Sandra Bullock's character and someone on Earth.

Check out special previews of revealing behind - the - scenes material, from documentaries to deleted scenes, available with Star Wars: The Last Jedi.

The second disc houses a majority of the bonus material, however, with over 4 hours of extras ranging from production featurettes to historical documentaries.

The various behind - the - scenes documentaries are outstanding, with in - depth discussions from everyone concerned about the development of the film's groundbreaking effects and the ways they stretched Michael Crichton's source material into a trio of feature - length films.

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.

Packed with never - released material, this documentary tells the life story of Muhammad Ali from angles we haven't seen before, even as it has a tendency to drift into hero worship.

Speaking of redundancy, this Blu - ray additionally ports over a mountain of (standard - definition) bonus material from the Platinum Edition DVD release, such as the lengthy and highly informative documentary «The Making of Bambi: A Prince is Born» and the 1937 Silly Symphony The Old Mill, the first use of an elaborate multi-plane animation camera Walt Disney himself explains in a «Tricks of the Trade» segment that's on board as well.

The first full day of Sheffield Doc / Fest included world premieres of Magali Pettier's portrait of farming in North Yorkshire Addicted To Sheep, Brian Hill's noir - thriller documentary about a man who confessed to over 30 murders in Sweden The Confessions of Thomas Quick and an EU premiere of Landfill Harmonic following the fortunes of a Paraguayan orchestra with instruments made from rubbish dump materials.

Academy - award winning director William Friedkin discusses his early career — including making documentaries for David L. Wolper, working for Alfred Hitchcock and what he learned from studying his films, and directing his first movie Good Times (1967), starring Sonny and Cher; how his career path led to making The Exorcist, his initial reaction to reading the source material, the story's theme of Good versus Evil, and the role his own faith played in his approach to making the movie; the techniques he used to generate suspense and fear in the audience, his use of subliminal imagery, and his reasons for recently restoring deleted footage to the film.

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».

From what I've read, footage from that documentary was sprinkled through the bonus materials on this Blu - From what I've read, footage from that documentary was sprinkled through the bonus materials on this Blu - from that documentary was sprinkled through the bonus materials on this Blu - ray.

Two documentary features, a «conversation» with Sisterhood author Ann Brashares and «Fun on the Set,» are obviously taken from the film's EPK materials for the theatrical release, but they do offer some substantial information on the origins and success of the book series and the journey to film.

Brand new 2K restoration from original film materials High Definition (1080p) Presentation Optional English subtitles for the deaf and hard - of - hearing Audio commentary by director Brian Trenchard - Smith The Stuntmen, Trenchard Smith's classic television documentary on Grant Page (Mad Max, Road Games) and other Australian stunt performers Hospitals Don't Burn Down, Trenchard - Smith's 1978 public information film told in pure Ozploitation fashion Behind the scenes gallery by graffiti artist Vladimir Cherepanoff Theatrical trailer Reversible sleeve featuring original and newly commissioned artwork by Chris Malbon

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.»

Nichols and his cast were able to draw from that material (Nichols regular Michael Shannon cameos as the photographer) and other footage from the period, including Nancy Buirski's 2011 documentary «The Loving Story,» to lend the film as much verisimilitude as possible.

Bonus materials include: Twist by Polanski (a documentary from director Roman Polanski's point of view), Kidding With Oliver Twist (the young stars share their experience while filming Oliver Twist) and The Best of Twist (a look at the sets, costumes, photography, editing and music of the film).

Disc two offers a wealth of supplemental material: a making - of documentary, footage from the premieres in Cannes and India; the film's (many) trailers and showreel; and a haphazard, completely context - free and unsubtitled assemblage of scenes from other films starring Khan, Rai and Dixit.

The Blu - ray and DVD include the 38 minute documentary «Jackie Brown: How It Went Down,» a nearly hour - long «Look Back at Jackie Brown» interview with Quentin Tarantino, 12 minutes of deleted and alternate scenes (including an alternate opening credit sequence with Grier «surfing» down the moving sidewalk to «Pipeline»), the complete «Chicks With Guns» video, Siskel & Ebert's original Jackie Brown review from At the Movies, «Jackie Brown on MTV,» a trivia track and galleries, the Jackie Brown promotional contest, a stills galleries of art, stills and promotional materials.

I could watch hours of footage from the set; I just don't get tired of this material, so another documentary of this sort is fine with me.

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.

Blu - ray Highlight: The Blu - ray doesn't actually feature any bonus material, but the accompanying DVD version does, although the only extra of note is a documentary from 2004 that combines archival footage with survivor interviews about the Holocaust.

An assemblage of documentary clips and off - cuts, Frieze: An Underground Film is a tongue - in - cheek riff on the experimental filmmaking mode — the material includes a point of view shot from the rollercoaster ride at Luna Park in St Kilda (another iconic Melbourne façade), a young boy bouncing on a bed, a snowy field, a woman in a bikini, a poster of Jean - Paul Belmondo, and some behind the scenes footage from Violence in the Cinema.

Additionally, all of the bonus material from the previous release has been included, like the making - of documentary «Pulp Fiction: The Facts,» the entire «Charlie Rose Show» interview with Tarantino, a production design featurette, behind - the - scenes montages, deleted scenes, «Siskel & Ebert: At The Movies — The Tarantino Generation,» Tarantino's Palm d'Or acceptance speech at the Cannes Film Festival, and much more.

Though billed as a documentary, this 59 - minute doodle barely rises above homemovie status, featuring more material of Corfixen's two daughters dancing naked around hotel rooms than it does actual on - set footage — though ambient music from «Drive» composer Cliff Martinez gives her a distinct advantage over most amateur videographers.

«Psycho» arrives on Blu - ray sporting a brand new DTS - HD 5.1 audio track and all of the bonus material from the 2008 Legacy Collection DVD, including the outstanding 25 - minute documentary, «In the Master's Shadow: Hitchcock's Legacy.»

Amy (Asif Kapadia, 2015) Kapadia's previously shown himself to be a master at recreating a person from existing materials — Senna is a brilliant documentary, and Amy follows hand in glove in what becomes like a forensic reconstruction that precedes tragedy.

TBS's documentary used vintage footage culled from several MGM promo featurettes, and Warner has chosen to include the original documentaries and source materials for avid cinephiles.

With the soundtrack, various performances from the White House and television, and a 90 - minute PBS documentary about the making of the musical, there is plenty of material that teachers can access to use Hamilton in the history classroom.

In our unit about the Holocaust and human rights, we used materials from the Teaching Tolerance kit built around the Oscar - winning documentary «One Survivor Remembers.»

We were inspired by sci - fi books and movies, but real life sources were just as important: authentic space imagery, documentary material on space programs and personal accounts from astronauts as well as soldiers in 20th and 21st century conflicts.

The exhibition is further punctuated by documentary material including ephemera from famous actions, behind - the - scenes photos and secret anecdotes that reveal the Guerrilla Girls» process and the events that drive their incisive institutional interventions.

From Group Material co-founder Julie Ault's personal art collection from the 1980s and»90s on view at Artists Space to Fiona Tan's film of the Sir John Soane Museum's antiquities collection at the Philadelphia Museum of Art (echoing Alain Resnais's great 1956 documentary of Paris's national library, «Toute la mémoire du monde») to the Museum of the City of New York's upcoming show of graffiti art collected by the late artist Martin Wong, artists and institutions are devoting considerable efforts to showing groups of historical art objects gathered through an idiosyncratic personal vision — with that act of curation being foregrounded as an artistic gestFrom Group Material co-founder Julie Ault's personal art collection from the 1980s and»90s on view at Artists Space to Fiona Tan's film of the Sir John Soane Museum's antiquities collection at the Philadelphia Museum of Art (echoing Alain Resnais's great 1956 documentary of Paris's national library, «Toute la mémoire du monde») to the Museum of the City of New York's upcoming show of graffiti art collected by the late artist Martin Wong, artists and institutions are devoting considerable efforts to showing groups of historical art objects gathered through an idiosyncratic personal vision — with that act of curation being foregrounded as an artistic gestfrom the 1980s and»90s on view at Artists Space to Fiona Tan's film of the Sir John Soane Museum's antiquities collection at the Philadelphia Museum of Art (echoing Alain Resnais's great 1956 documentary of Paris's national library, «Toute la mémoire du monde») to the Museum of the City of New York's upcoming show of graffiti art collected by the late artist Martin Wong, artists and institutions are devoting considerable efforts to showing groups of historical art objects gathered through an idiosyncratic personal vision — with that act of curation being foregrounded as an artistic gesture.

Overview: In conjunction with the exhibition Los Angeles to New York: Dwan Gallery, 1959 — 1971, the National Gallery of Art Library will present documentary material drawn from the library collection as well as the Dwan Gallery Archives and Virginia Dwan Archives.

Featuring new scholarship by art historian Robin Clark, it includes reproductions of fascinating archival and documentary material that was discovered during the curatorial process, from the artist's sketches to gallery invitation cards, early catalogue covers, historic photographs, as well as installation views of the exhibition.

The book also includes an arsenal of compelling archival material, from documentary photographs from the period to reproductions of Cologne's culture magazine Spex.

The book also features new scholarship by Diedrich Diederichsen and Bob Nickas, an illustrated timeline for both cities and compelling archival material — from documentary photographs from the period and reproductions of Cologne's historic Spex Magazine to reviews of exhibitions from the period.

In a more dramatic break from tradition for the space, they will also feature a variety of documentary materials that seek to place Adrià's work in the broader context of innovation as well as a new film that features images of all the dishes elBulli ever served.

Simultaneously with the work of artists will be on display and a small part of archival and documentary material with photos of the marine life of Patmos, from major monuments and ceremonies of island associated with water as well as images and texts associated with the collection, the management and the consumption of water in Patmos in the past and the present.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

Galvanized by the international student protest movement of the late 1960s, Farocki developed an experimental documentary style integrating his own material with footage appropriated from a range of sources, including mass media, surveillance, and political propaganda.

Farocki's practice is largely defined by an experimental documentary format integrating his own material with footage appropriated from various sources, including mass media, surveillance, and political propaganda.

The result of years of research, it assembles for the first time a wealth of rare and never before published documentary material and ephemera, from installation images and reviews, to floor plans and catalog excerpts.

Barroca draws from a wide - range of historical and documentary material — photographs, videos, and sound recordings — produced at the time of major epochal events.