Sentences with phrase «effect on cinema»

Not exact matches

Putting together a galactic - scale blockbuster is a global effort, involving not only this visual effects shop — Shore estimates his team is responsible for 250 of the shots cinema - goers will see once Star Wars Episode VII opens on Dec. 18 — but also ILM's head office in San Francisco, as well as branches in London and Singapore.

This is a rare case in modern cinema where the effects actually look real rather than something designed by committee on a computer during postproduction.

To wit: Sidney Lumet and Naomi Foner put the Sixties on the lam in Running on Empty, and tell Gavin Smith and Anne Thompson why Paul Kerr dopes out the Sixties effect on Brit - cinema Andreas Kilb sacks German film Philippe J. Maarek routs the French Peter Wollen checks out Film Theory country Marcia Pally roasts the American rewrite of the era but sees signs of life in some quarters Marlaine Glicksman finds the perfect Sixties Woman: Sylvia Miles -LRB-!)

(p. 37) Yet, whereas Daire sees Mauprat as a dynamic, complex, and ostensibly queer studio film (the gender play he notes in the biography), Keller sees the film as a «costume drama [that] lacks almost entirely the vigour described by Epstein about the effects of cinema on an audience.»

This is essential viewing for any lover of cinema, as we are given a one - of - a-kind look into the mind of a unique director, his process, his doubts and the effects making a movie has on his home life.

Wearing his political views on his sleeve once more, Good Luck, and Good Night offered audiences a thought - provoking and weighty look at America in the 1950s and showed that intelligent cinema could still be made in a time where special effects and pyrotechnics are the norm.

Paul Franklin has made his mark in cinema in the dizzying world of visual effects, having done work on the likes of a few Harry Potter films, a Bond movie, and most recently, Captain America: Civil War.

A balls - to - the - wall actioner with plenty of insane choreography and even crazier effects on the execution, the film proves once again that, when it comes to daring works of cinema that keeps your nerves firmly in grip and your thirst for excitement quenched, this is a filmmaking team worthy of your attention.

The use of computers reopens an on - going tension in action cinema between effects and realism.

Dir Dario Argento (Leigh McCloskey, Irene Miracle, Alida Valli, Daria Nicolodi) Horror cinema at its most baroque: a simple libretto is embroidered with elaborate, flowing camera movements, abstract blocks of colour, unsettling sound effects and soundtrack composer Keith Emerson's thunderous rock variations on Verdi.

«The fact that [Victim] features a sympathetic homosexual protagonist — the first in British cinema — was no small matter, and the effect it would have had on a boy of 16 struggling with his own homosexual feelings is incalculable.

Wan has proven himself a skilled and versatile director of old - school horror cinema, which may have been one reason he was eager to change up genres and take on a Fast and Furious movie, to excellent effect.

A sort of spiritual sequel to the touchstone adolescent cinema of the 1980s, The Lather Effect is a wistfully engaging ensemble flick about the emotional grappling of the generation that grew up on MTV and the Rubik's Cube — like the characters of a John Hughes comedy getting back together for one last meeting of the breakfast club and finding out things aren't what they use to be.

Exiles in Hollywood looks at Fritz Lang, William Wyler, Billy Wilder, Fred Zinnemann, and Otto Preminger, analyzing the profound effect they had on American popular cinema after leaving UFA Studios.

«Let's Go to the Macroverse» (8:06) considers the Macro Unit's effects on the film, with looks at the techniques that 2015 cinema could use to best convey a miniature view of our world.

The result is both a giddy celebration and a quietly crafty investigation into the effect cinema can have on its audience.

The result is both a giddy celebration of impossible love and a quietly crafty investigation into the effect cinema can have on its audience.

So it's great to see her given what is, in effect, her first leading role as an adult — she's 21 now — in such an unashamedly commercial production as Brooklyn, which arrives in cinemas on Friday.

Whilst Cinema Paradiso recounts the effect cinema has on a young boy named Toto (Salvatore Cascio) who lives in a small Sicilian town, Hu explores the impact cinema has for a young Chinese photographer in Peking.

The Cinema Effect: Realisms at Caixa Forum Madrid is an exhibition that reflects on the influence and impact of cinema in constructing our visual culture, highlighting how cinematographic language has taken on various artistic forms including video and installation art.

Whether seeking remembrance of a city's fading past or reflecting on nature's fugitive atmospheric effects, Hutton sculpts with time; each film unfolds in silent reverie, with a series of extended single shots taken from a fixed position, harking back to cinema's origins and to traditions of painting and still photography.

The layers of cinema's material evolution, and certain artworks produced since, have a temporal gravity that presses down on these works, effecting what their form implies.

Furthermore, the exhibition will include a number of kinetic and «programmed» artworks as well as expanded cinema pieces, which amplify the radical effects of technology on vision.

Occupying a space between sculpture, cinema and drawing, his work's historical importance has been internationally recognized in such exhibitions as Into the Light: the Projected Image in American Art 1964 - 77 at the Whitney Museum of American Art, New York (2001 - 2); The Expanded Screen: Actions and Installations of the Sixties and Seventies at the Museum Moderner Kunst, Vienna, Austria (2003 - 4); The Expanded Eye at the Kunsthaus Zurich, Switzerland (2006); Beyond Cinema: the Art of Projection at Hamburger Bahnhof, Berlin, Germany (2006 - 7); The Cinema Effect: Illusion, Reality and the Projected Image at the Hirshhorn Museum, Washington, DC (2008); The Geometry of Motion 1920s / 1970s at the Museum of Modern Art, New York (2008); and On Line at the Museum of Modern Art, New York (2010 - 11).

Referencing both historical and contemporary uses of illusion, Knox challenges an understanding of special effects that relies on a linear conception of technological evolution, and incorporates devices that range from trompe l'oeil, proto - cinema and dioramas, to op art, video, cinema and computer games.

Exclusively using analogue technologies, live - action footage, early computer graphics, stop - motion animation and in - camera effects on 16 mm films, Beckman's work is a carefully designed collage reminiscent of the 70s Structuralist filmmaking and the 80s No Wave cinema.

For full effect, the artist directed the performances of hundreds of costumed actors on fictionally imagined sets, creating congested public areas including an airport terminal, a city hall lobby, a beach and the Sunset 5 cinema.

«The Cinema Effect: Illusion, Reality and the Moving Image» is without a doubt an exhibition that will leave a lasting impression on the public because as Kerry Brougher notes, movies are indissolubly linked to contemporary man's daily reality: «Today, the cinema is everywhere, -LRB-...) The cinematic is in the way we perceive the world, in the way we speak, in the way we dream.

As the medium increasingly permeates every avenue of daily life, from mobile devices to our very language, the Museum of Arts and Design presents An Assault of Reality, an investigative survey into the effect of cinema - in the broadest sense of the term - on the formation of perception, truth and existence.