Sentences with phrase «en scene of»

The mise en scene of

The mise en scene of Inherent Vice is one of its strongest features, and the costumes have a lot to do with it.

Not exact matches

It was a scene reminiscent of Mourinho's sprint at Old Trafford en route to his first European Cup success with Porto in 2004.

I have to say that Ruffian's Mise - en - Scene line is confusing the heck out of me.

Part of the Mise en Scene by Ruffian collaboration, it's one of two items featuring this spectacular Jacquard.

By the time we arrive at «the incident,» the filmmakers are simultaneously mainlining and distorting the scandal's iconic figures and moments: posing a bloodied Harding over Kerrigan's (Caitlin Carver) bruised body; imagining a scene of Harding and Kerrigan bonding over pizza, booze, and En Vogue in a hotel room; and introducing «bodyguard» Shawn Eckhardt (Paul Walter Hauser) and «hitman» Shane Stant (Ricky Russert), the moronic goons who wrenched Harding's narrative away from her and turned it into tabloid grist.

In his feature film Art Party, Smith builds on his 2011 protest with a mix of performance, interviews and imagined scenes, en route to the 2013 Art Party Conference, where he and other speakers championed the importance of art and its place in the education system.

Dean's alienation is perfectly expressed through Ray's vertiginous mise - en - scene: the suburban LA setting becomes a land of decaying Formica and gothic split - levels.

Despite a monotonously fashionable mise - en - scene, Lyne generates some genuine erotic tension between his two stars; you believe in their obsessive relationship, even as most of the action and staging registers as ridiculous.

But for all of the dramatic focus on poverty, the subject of John Landis's mise - en - scene is money — making it, spending it, blowing it away.

In its own messy, slightly ungovernable way, this digressive bagatelle feels looser than some of Anderson's most tightly controlled mis - en - scenes.

The movie does have a certain amount of star power and occasional bursts of inventive mise en scene, which do a good job of diverting us so we don't realize that not much else is going on.

Owen has a great sense of the cinematic pleasures of mise - en - scene and montage, you see this in the Todd Haynes film as well.

This mise - en - scene is pure wunderkammer — so fixated on cramming every inch of the frame with knickknacks, piles of papers, obsolete technologies (production designer Maria Djurkovic must've been given one hell of a typewriter budget), and accumulated dust that the characters themselves begin to resemble rare, preserved specimens.

The mis - en - scene composition is done in the hip and thematically relevant format of many a Soderbergh movie, essentially giving what are static scenes of conversation a higher artistic cinematic polish.

She is clearly the center of Pakula's aesthetic; I found his mise - en - scene to be something of a representation of Bree herself, enigmatic and obscured but in some ways very forthcoming.

The color palette and mis - en - scene composition are fittingly vibrant and epic for a blockbuster film of this scope, and many of the ambitious action sequences are well - executed and impressive, which helps to justify seeing the film on a theater screen.

Chain - smoking and woozy but utterly committed to her actions, Larrain's mise - en - scene barely leaves the tiny shoulders of Portman for the film's running time.

This is cerebral, poetic cinema of the highest order, choreographed mise - en - scene fit to be framed and admired in the most respected of museums.

Perhaps the true star of the film, however, is its mise - en - scene.

The final shootout sequence in the ghost town is brilliantly done, both in the mise - en - scene (an empty wasteland of a town, devoid of both human and vegetal life (except for the poor Mexican couple who get caught in the crossfire) and in the camera movement.

Although other films might've depicted a fun - filled female - bonding sequence as a throwaway montage backed by an En Vogue song, Story transformed it into a full - fledged music video set to Bell Biv DeVoe's 1990 mega-hit «Poison,» complete with MTV - and BET - style corner - screen end credits, resulting in one of Think Like a Man Too's most memorable scenes.

Yet rather than do anything with this absurdity, the rest of the scene just involves Amy «standing up» to Gwendolyn and telling her how bad her day has been, the other mothers gasping en masse off screen.

Letts and Friedkin first collaborated on a screen adaptation of Bug that won the FIPRESCI Award at the 2006 Cannes film festival and was praised for its claustrophobic staging and hallucinatory mise - en - scene.

I must admit, I enjoy watching our cultural mandarins pondering a mise - en - scene in which a swung crowbar bends into a silhouette of the head it bashes.

In the very opening scene of the latter, male protagonist Mario (Enric Majó) expresses his affection for Barcelona and compares it to a living organism that breathes «just like you and I.» 5 This declaration of love echoes Pons» own tribute to his city: «Yo estoy agradecido a la ciudad en la cual me muevo y que es muy bonita.

The helmer shows again his mastery of mise - en - scene: Chuck's return to civilization is so brilliantly staged that it almost makes up for the unexciting spots at the center.

Moreover, in their deployment of original material the installations are also highly attentive to the politics of mise en scene.

I would be cheating my own rules for this annual exercise if I were to crown Howards End as my film of the year - I have in fact seen it many, many times before and loved it for a long time (although never before was I able to enjoy the finesse of its narrative structure, and admire its sumptuous mise - en - scene and art direction - actually delivered on a shoestring budget - on a big screen).

The merit of Gosford Park, apart from its impressive ensemble acting and mise en scene, is its smartness about the relations between servants and their employers, not its insights into the nature of either class (which The Rules of the Game has in abundance).

The camera work and layout of these scenes is brilliant, and Branagh clearly is having a ball walking through it all as Poirot, a man who soon will be on a mission to find out just which of this group knocked off one of them as they were en route to Europe — and why.

Best TV Atlanta (FX) Better Call Saul (AMC) Casanova Undressed (Sky Arts) Crisis in Six Scenes (Amazon) Mr Robot (USA Network)-RRB- The Night Of (HBO) War and Peace (BBC) Best Film Writing Tony McKibbin's review of Adrian Martin's Mise en Scène and Film Style: From Classical Hollywood to New Media Art in Film - Philosophy 19 (http://www.film-philosophy.com/index.php/f-p/article/view/112Of (HBO) War and Peace (BBC) Best Film Writing Tony McKibbin's review of Adrian Martin's Mise en Scène and Film Style: From Classical Hollywood to New Media Art in Film - Philosophy 19 (http://www.film-philosophy.com/index.php/f-p/article/view/112of Adrian Martin's Mise en Scène and Film Style: From Classical Hollywood to New Media Art in Film - Philosophy 19 (http://www.film-philosophy.com/index.php/f-p/article/view/1124)

In terms of mise en scene, we get a show - offy opening shot and some equally show - offy extreme close - ups near the end but, contrary to what we've been hearing, no particular signs of development or renewal in Altman's camera style.

Although it could be set anywhere, Anderson chose a Japanese mise - en - scene making Isle of Dogs even more visually fantastic than... Mr. Fox.

A new Ant - Man and the Wasp trailer has arrived, loaded with jokes, action, and definitely not a bunch of scenes of heroes dying en masse.

Employing her deft touch for needle drops, and pretty swanky sense of mise - en - scene, the film nevertheless suffers from being only skin deep.

If anything, he's a classic example of the studio director who knew how to set up a scene (look at the mise - en - scene and deep focus in The Little Foxes, for example — of course, having Gregg Toland as cinematographer didn't hurt) and then get out of the way of his actors.

Orcs, goblins, trolls, giant spiders and a variety of other nasty nemeses populate the screen en masse giving much opportunity for epic scenes of swordplay.

The camerawork and mise en scene move into a kind of cinema verite existence feelung often like do umentary rather than dramadoc.

In fact, the first half of the film (chronicling Ellis and Neckbone's meeting and bonding with Mud) has an almost dreamlike quality to its gorgeous iconography and mise - en - scene composition.

Gilliam offers his usual cinematic touches, with quirky characters, cluttered mise - en - scene, and a healthy helping of the surreal mixed in.

The brilliance in both films is certainly due to Savides u» nique mise - en - scene and naturalistic point of view, perhaps so real and genuine, it gave «Elephant» a chilling tone to its brutal aftermath and in «Gerry» captured the desperation and isolation of the forsaken.

The film is an artistic behemoth, from the incredible performances that breath life into each character, to the fastidious mise - en - scene that make surroundings feel like second - homes in record time, to the balletic camera movements that are such an integral part of the film's feeling of intimacy.

Repertoire (Alphabetical order by director) Du levande (You, the Living, Roy Andersson, 2007) En kärlekshistoria (A Swedish Love Story, Roy Andersson, 1970) Sånger från andra våningen (Songs from the Second Floor, Roy Andersson, 2000) Les ordres (Michel Brault, 1974) Jagdszenen aus Niederbayern (Hunting Scenes from Bavaria, Peter Fleischman, 1969) La faille (Weak Spot, Peter Fleischman, 1975) Proverka na Dorogakh (Trial on the Road, Aleksei German, 1971) Moy drug Ivan Lapshin (My Friend Ivan Lapshin, Aleksei German, 1984) La Verifica Incerta (Alberto Grifi & Gianfranco Baruchello, 1965) Die linkshändige frau (The Left - Handed Woman, Peter Handke, 1978) Poison (Todd Haynes, 1990) Feng gui lai de ren (Boys from Fengkuei, Hou Hsiao - hsien, 1983) Jak zyc (How to Live, Marcel Lozinski, 1981) The savage eye (Ben Maddow / Sidney Meyers / Joseph Strick, 1960) Kundskabens træ (Tree of Knowledge, Nils Malmros, 1981) Drenge (Boys, Nils Malmros, 1977) Visita ou Memórias e Confissões (Visit or Memories and Confessions, Manoel de Oliveira, 1982/2015) De ofrivilliga (Involuntary, Ruben Östlund, 2008) Minotaur (Nicolás Pereda, 2015) La parmigiana (The Girl from Parma, Antonio Pietrangeli, 1963) Chroniques turcs (Turkish Shorts, Maurice Pialat, 1963) La gueule ouverte (Mouth Agape, Maurice Pialat, 1978) Passe ton bac d'abord (Graduate First, Maurice Pialat, 1978) La maison des bois (Maurice Pialat, 1971) Silvia Prieto (Martin Rejtman, 1999) Entrenamiento Elemental para Actores (Elementary Training for Actors, Martin Rejtman, 2009) Rapado (Martin Rejtman, 1992) Trás - os - Montes (Antonio Reis & Margarida Cordeiro, 1976) Os Verdes Anos (The Green Years, Paulo Rochas, 1963) Sagro Gra (Gianfranco Rosi, 2013) Carriage trade (Warren Sonbert, 1968) Nicht versöhnt oder Es hilft nur Gewalt wo Gewalt herrscht (Not Reconciled, Straub - Huillet, 1965) Idioterne (The Idiots, Lars von Trier, 1998) Im Lauf der Zeit (Kings of the Road, Wim Wenders, 1976) Die Angst des Tormanns beim Elfmeter (Goalie's Anxiety at the Penalty Kick, Wim Wenders, 1971) Summer in the City (Wim Wenders, 1970) Ich war neunzehn (I Was 19, Konrad Wolf, 1968) Ljudi (U Prolazu)(People (In Passing), Lordan Zafranović, 1967) Poslihe Podne (Puska)(Afternoon (The Gun), Lordan Zafranović, 1968) Crni film (Black Film, Želimir Žilnik, 1971)

Light and fun, with flashes of Sirk's brilliance in mise - en - scene (mirrors and such).

Use of mise en scene, in particular the use of music.

This detailed and high quality unit includes: * 15 lesson plans (with 13 differentiation strategies) * 93 slide PowerPoint presentation (divided into lessons) * All resources and worksheets (21 sheets) Unit's lessons include: * Introduction to the AQA GCSE Media Studies course requirements * Introduction to the four key concepts * Activity focused on pupils» own consumption of media texts * Detailed research into the history of the media - creating a timeline of people, technology and institutions * Applying Maslow's Hierarchy of Needs to film media * Introduction of camera shots, angles and movement * Film terminology «speed - dating» to introuce key media language * Analysing a mise - en - scene * Analysing a film trailer: genre conventions and audience appeal * Creating genre - specific typography and writing a commentary * Analysing logos and slogans * Exploring stereotypes in the media * Music industry terminology and genre features * Analysing a CD album sleeve: genre conventions and audience appeal * The history ofvideo gaming * Video gaming genres and gratifications * Analysing a video game cover: genre conventions and audience appeal

A lesson for introducing students to the visual codes of mise - en - scene.

The concepts covered are: * Camera techniques * Audio techniques * Editing techniques * Mise - en - scene codes * Narrative structure * Genre conventions * Representation * Ideologies * Cultural Spheres and Universes * Institutional Techniques * Audiences models and theories * A wide range of media theories broken into contextual areas into sociological and political This is vital tool in the lead up to the exam period, where it can be used as a revision guide for key concept development, and as a compliment to other units you are teaching.

Differentiation: purple = lower ability blue = middle ability yellow = higher ability Resources provide opportunities to: - explore institution (BBC)- explore conventions of trailers - explore conventions of websites - explore genre conventions - explore and analyse mise - en - scene - explore and analyse Todorov's narrative theory - evaluate own production work - explore representation of genre, people and institutions Resources use the following BBC dramas as a stimulus: - Our Girl - Dr Who - The Night Manager - create a trailer and a website for a new BBC drama series