Sentences with phrase «film form present»
These enhanced and combined functional responses in thin film form present an opportunity to create and implement thin film devices that actively couple the magnetic and ferroelectric order parameters.
http://science.sciencemag.org/ Not exact matches
When water was present but did not saturate the supercritical carbon dioxide, an ångstrom - thick water film formed on the minerals.
Twilight Time's blu - ray presents the film in it's 3D and 2D forms.
Kiarostami's film presents a concept, fully formed and cogent, and allows the rest of the film to set to work on that concept, breaking it into Heisenbergian particles, then bringing it back into solid shape, and on and on.
Classic films present escapism in its purest form, and I can't think of a better example than William Wyler's romantic adventure, Roman Holiday.
Borrowing the form of the Maysles» Gim me Shelter that documented the Rolling Stones» tragic Altamont concert, Altamont Now presents a unique reversioning of 1960s rock - sploitation films, Black Panther - style revolutionary rhetoric, and cinema verité to portray and eerily emblematic group of youth who have nothing worth rebelling for.
The awards are the first to be presented under the aegis of the newly - minted Asian Film Awards Academy, formed by the heads of the Hong Kong, Tokyo, and Busan film festivals.
All the ingredients for a vicious criticism of middle - class values in the form of an occult horror film are present, including a no - nonsense husband who downplays Marina's intuition as a hallucination.
Presented in a handsome yet artifact - prone and sometimes «hot» 1.82:1 anamorphic widescreen transfer (flesh tones and facial details are occasionally muted by blown - out whites), the film remains free of nudity from Cuthbert but contains additional flesh in the form of porno clips and background exhibitionists.
The film starts and ends without credits to give the impression that it is merely a random collection of home video footage.13 Extremely graphic material of unconnected and spontaneous torture and murder is presented throughout in an extended and unmediated form.
One thing we need to know about African - American experience is the minutiae: there should be films that present the ordinary, everyday reality of these lives in forms that resist cliché and hyperbole, refuse to glamorize, mystify, or stereotype.
The film's tapestry of folklore and metaphor departed from the realism that dominated the Soviet cinema of its era, leading authorities to block its distribution, with rare underground screenings presenting it in a restructured form.
In the editing room, he conjures up a film form for Joy that's extremely artful, even experimental, as he disrupts the chronology of events within a scene, piecing together some sequences in unconventional ways, most laudably used in the film's conclusion which intertwines the present day with the future.
The only extras Pom Poko has to boast are direct ports from the Japanese release - a section of trailers and tv spots, plus the whole film in storyboard form, which is the only feature present on Disc 2.
Not only does that reading explain the fervent use of voice - over, never more present here, recounting and musing on each experience with that hushed, inimitable whisper, but it also explains the unique aesthetic of Malick's films: his desire to capture fragmented but ideal forms of corporeal, natural and architectural beauty, rendered so by Emmanuel Lubezki's superlative cinematography and some elliptical, compelling editing.
His themes and obsessions are clear and present in nearly every film of his, and yet his use of form insures that none of his films ever look or feel the same.
The film necessarily presents a despairing view of America as its 20th - century glory days recede into the distance, but Schrader isn't one to shirk away from some form of hope for his isolated priest.
In this debut feature film, director Pesce presents both story and form through understatement.
For the «Mad Max» lover, the «Mad Max» unfamiliar and even those non-savvy with the art form of cinema, «Mad Max: Black & Chrome» is bound to make you the ultimate Santa of your loved ones» holiday, if for the idea of presenting people with one of the very best films of 2015 or giving them the gift of Doof warrior but in black - and - white.
Reviewed by Damien Straker on the 4th of April 2018 Paramount presents a film by John Krasinski Produced by Michael Bay, Andrew Form and Brad Fuller Screenplay by Bryan Woods, Scott Beck and John Krasinski Starring Emily Blunt, John Krasinski, Millicent Simmonds, Cade Woodward and Noah Jupe Music by Marco Beltrami Cinematography Charlotte Bruus Christensen Edited by Christopher Tellefsen Running Time: 90 minutes Rating: M Release Date: the 5th of April 2018
His intriguing and oblique new puzzle film presents this suffering in all its disparate forms, and focuses particularly on how it has manifest within the ranks of an affluent family of coastal French industrialists, the Laurents.
«Storyboard to Film Comparison» (3 minutes) presents the film's opening scene in both storyboard form and final film form side by side.
This allows the viewer to use the angle button on their remote to switch from a scene in the film presented in Story Reel form, Rough Animation, Clean - Up Animation, and Final Animation.
Though nominally a celebration of the life and storied career of children's broadcaster Fred Rogers, anchored in present - day talking - head interviews with collaborators and friends that threaten at times to bludgeon the delicate and achingly sincere archival footage of Rogers's show «Mr. Rogers» Neighborhood», Neville's film has a bit more teeth as a manifesto for how children's educational programming that resists the trends of busyness, noise, and violence can function as a form of public service, instilling values like neighbourly stewardship and mutual respect.
The film presents arguments for and against having both job and child in the form of ill - thought - out «soul - searching» and selfrighteous emotionalism insulting to the intelligent viewer.
The camera is virtually never still during the opening sequences, which form a present - tense prologue placing the remainder of the film firmly in the realm of memory.
What film did was to combine the elements of more basic art forms and present them in unison.
Presented through all of MUMA's recently designed galleries, the inaugural exhibition sees artists explore performative, media and event cultures, and the post-industrial architecture of the urban fringe, whilst others work with sound, light, sculpture, film, and painting in its diverse and expanded forms, offering a multi-sensory register of art and everyday life, from complex cultural perspectives.
She is known for bridging fine art and other art forms, including music and film, and for championing fashion as part of her practice — where she has seamlessly presented fashion designers, such as Karl Lagerfeld and Marc Jacobs I her exhibitions alongside visual arts.
Screening and Talk: «Ugly Duckling Presse: Costume en Face» at The Kitchen In conjunction with Big Dance Theater's new production «Big Dance: Short Form,» the Kitchen presents a screening of a rare film of Butoh dance's founding father Tatsumi Hijikata's 1976 production of Costume en Face.
Performa: New Visual Art Performance presents an authoritative introduction to the genre, many forms including radio broadcast, dance, live installation, new technologies, film and video, music, historic reconstructions and lecture - as - performance, and provides a vivid tour through the world of contemporary performance, featuring inventive documentation of works by some of the most significant artists of our time, including Jesper Just, Francis Alys, Christian Marclay, Laurie Simmons, Tamy Ben - Tor, Melik Ohanian, Michael Smith, Christian Holstad, and Gelitin.
Screening: «Ed Atkins» at the BAM Rose Cinemas Presented as part of BAM's «Migrating Forms» program, a series that shows videos and films from the international art world, this screening offers a selection of high - definition videos by British artist Ed Atkins, whose work has been celebrated in solo shows at Tate Britain and MoMA PS1.
This program, presented in conjunction with the Experiments in Form: Sam Gilliam, Alan Shields, Frank Stella exhibition (currently on view at the Block Museum), showcases a 60 - year range of films and videos that explore handmade and cameraless approaches to abstraction.
This past year the Museum presented 36 exhibitions and 630 films that showcased native fashion, presented the breadth of pop art icon Andy Warhol's prints, featured Rodin's brilliant human forms, introduced under - recognized African - American artists, and traveled the region and the globe through film.
Thus the monsters are in communication with works which allow language, stories branching out in all directions and fictions to be present as spirits: hundreds of balloons in the form of speech bubbles, glass speakers, puppets, photographs of the artist, who is speaking to animals, a film which has «produced a building» and numerous stories which the monsters from the drawings want to begin...» (excerpt from the press release).
The exhibition, «Voice of Images», curated by Caroline Bourgeois, brings together videos, films and installations that explore this particular form of artistic expression, from the 1970s to the present day.
Ghost Dance marks Samson Kambalu's first solo exhibition with Goodman Gallery in which the Malawi - born multimedia artist presents a series of new films (dubbed «Nyau Cinema») in the form of a site - specific installation.
The group was formed as an alternative art platform and gave opportunities to young artists by presenting work in visual art, poetry, film, music, and fashion in ten self - organized, thematic exhibitions and happenings between 1965 - 1970.
In honor of Food, the restaurant which Gordon Matta - Clark established in Soho, New York, this publication is presented in the form of a restaurant menu, and documents the artist's varied and imaginative work, including sculptures, film stills, and photos.
Engaging with the idea that adaptation is necessary for survival, the artists in this exhibition present films, sculpture and text - based works that reflect on new and hybrid forms of architecture, technology, biology and language.
The works presented here take many forms, including physical archives arranged by peculiar cataloguing methods, imagined biographies of fictitious persons, collections of found and anonymous photographs, film versions of photographic albums, and photomontages composed of historical photographs.
As part of its exhibition Charles Sheeler: Fashion, Photography, and Sculptural Form, the James A. Michener Art Museum presents a series of films from the 1920s.
In Second - Hand Reading (2013) Kentridge presents an early type of film in the form of a flip - book.
Richards feeds the tension already present in Bacon's painting with a orchestral soundscape of public silences - acts of mourning remembrance or suspenseful pauses in films, to form a unique visual and audio experience.
Finished works have taken the form of Super 8 mm or 16 mm films, film performances with live music, and installations; presented at film festivals in Australia, including the Melbourne International Film Festival, and at various spaces in New York including Union Docs, Roulette, Vaudeville Park, Eyebeam, Norte Maar, and Centotto, amongst others.
All modes of drawing are presented and might take the form of animation, film, photography, sculpture, installation, and so on.
Graf's work consists primarily of film projects, which are usually presented in the form of installations, but is also supplemented by object arrangements and assemblages.
Working with composers and film / theatre crews, Ayoung Kim utilises storytelling and narrative structures to evoke alternative forms of reading, listening and thinking about our present human condition.
The exhibition «The Bottom Line» presents various aspects of drawing as a form of contemporary art: from abstract to figurative, from small format to large, from rapid sketches to slow, large - scale projects and from drawing as film to drawing as performance.
Birnbaum has subsequently approached the exhibition from a very global standpoint, he states that within the biennale: «All forms of artistic expression are present: installation art, video and film, sculpture, performance, painting and drawing, and a live parade.