Sentences with phrase «film history using»

Jonathan Jones: Scorsese's Hugo, shot in 3D, is an excited paean to film history using modern techniques.

Not exact matches

It has a fascinating history of use in glass making, film developing, taxidermy, cooking and chemistry but I am most fond of it for its simple household uses.

I was not one of A Beautiful Mind's historical accuracy Nazis, who used the film's marginalization of the real John Nash as a way to bash the film (for my money, it was the horrid screenplay and direction that made it such a painful film to watch, not its artistic rewriting of history), though the erasing of Turing in Enigma is rather distressing.

While I'm a Born Liar assumes too much knowledge of Fellini's oeuvre and place in film history to be of much use as an general introduction... the legendary director's enthusiastic participation makes it a must - see for buffs.

Gance uses techniques not much associated with silent film, like a hand - held camera, multiple superimpositions, split split screen, rapid - fire editing and flashbacks to rivet the audience's attention and bring history to vivid life.

Whereas the stage - adapted War Horse used history for melodrama and Spielberg's subsequent Lincoln and Bridge of Spies took pride in their monochromatic iciness, The Post embraces humanity and principles while treating them to the technical splendor that have long defined the director's films.

Tracing the history of food production in the United States, the film charts how farming has gone from local and sustainable to a corporate Frankenstein monster that offers cheap eggs, meat, and dairy at a steep cost: the exploitation of animals; the risky use of antibiotics and hormones; and the pollution of our air, soil, and water.

What is important about this film is not that it serves as a history lesson (although it does) but that, at a time when the threat of nuclear holocaust hangs ominously in the air, it reminds us that we are, after all, human, and thus capable of the most extraordinary and wonderful achievements, simply through the use of our imagination, our will, and our sense of right.

Ptolemy is not a particularly interesting history professor, given as he is to vague philosophical - sounding intonations about the greatness of Mr.. The Great, but that doesn't stop Stone from using him as a narrator throughout the film, both on screen and in voice - over.

In addition to melding conventional setups with high grain inserts and smash zooms that tell the ninety - seven year history of motion pictures (using, ironically, D.W. Griffith's Birth of a Nation as the starting point), Mr. Tarantino remains faithful to the medium of film.

In Skype's short history, it has never been used effectively in film.

They are the longest 35 mm Steadicam shots in cinema history — each using nearly an entire film reel.

However, rather than using these points to outline a cinema of cynicism and disaffection (as Sconce did), Perkins demonstrates how irony is used to explicitly and strategically position the films within the history of popular culture (p. 13).

Intent to Destroy uses a historic feature film production as a springboard to explore the violent history of the Armenian Genocide and legacy of Turkish suppression and denial over the past century.

Ultimately, Dotan's thought - provoking film succeeds by never getting bogged down in heavy history of the conflict, but using it to offer perspective to the situation in its present day.

It considers the different uses of the non-actor throughout cinema history and the relevance of this figure for understanding the ontology of film.

Using traditional research methods (reading old books) and non-traditional film processes (boiling old books) Gatten's films trace the contours of private lives and public histories, combining philosophy, biography, and poetry with experiments in cinematic forms and narrative structures.

John Carpenter created one of the best horror films in history in 1978 and it has been used as the basis and inspiration for many projects.

History, in Forrest Gump, is an inconvenience to be overcome with digital technology, remembering here that we're midway between the film - as - vérité of sex, lies, and videotape and the digital - as - vérité of American Beauty — in the middle of a sea change, as it were, between what film used to mean and what it's going to mean.

According to a long - standing film - history periodization that — #yesallperiodizations — is contested and contestable, this year marks the centenary of the birth of the «classical Hollywood» style, with a set of agreed - upon conventions including continuity editing, crosscutting between parallel events unfolding at the same time, the use of close - ups to express a character's state of mind, etc..

Ang Lee's «Billy Lynn's Long Halftime Walk» has made headlines mostly for its use of new film technology: an ultra-high frame rate considered unprecedented in cinematic history.

Directors have been using Léaud as a walking metaphor for mortality and for film history for several years: they have used him not for novelty casting as such, but to represent an idea of damaged glory or to play a kind of phantom, both of himself and of a certain ideal of cinema.

Out of the tumult of history and the psychic torture that is the legacy of slavery, Steven Spielberg forged his most accomplished film since Schindler's List: a ruminative epic that used America's 16th president as a totemic figure against which a nation's progress over the centuries since could be gauged.

While the idea of slick David Copperfield types using magic to pull off capers is enticing and spectacular, the first movie squandered its potential with an inane subplot about an all - seeing magic society called «The Eye,» and one of the most obnoxious film twists in recent history.

4:35 pm — IFC — Häxan Or, Häxan: Witchcraft Through the Ages — a silent film telling the history of witchcraft using several different visual styles.

I received the impression that Pearl Harbor was made in complete ignorance of the last 100 years of film history, using incredibly hackneyed and old - fashioned devices that might have come from D.W. Griffith himself.

Using archival footage to tell the story, and accompanied by an originally composed score by Alex Somers,» Dawson City: Frozen Time», will depict a unique history of a Canadian gold rush town by chronicling the life cycle of a singular film collection through its exile, burial, rediscovery, and salvation — and through that collection, how a First Nation hunting camp was transformed and displaced.

Starring Hemlock Grove's Kaniehtiio Horn — a First Nations Mohawk who grew up on the Kahnawake Reserve — as a Mohawk woman driven to violence by soldiers» assault on her family and her ancestral home in early 19th - century New York, the film engages with the horrors of American history in an uncommonly blunt way, using them to tell a tale of supernaturally tinged revenge.

«This Is VistaVision» is a cool look at the history of Paramount's groundbreaking higher - resolution filming and widescreen exhibition technology, in which Funny Face was shot, and is largely only used for effects work today.

• Limited Edition collection of the complete Blood Bath • High Definition Blu - ray (1080p) presentation of four versions of the film: Operation Titian, Portrait in Terror, Blood Bath and Track of the Vampire • Brand new 2K restorations of Portrait in Terror, Blood Bath and Track of the Vampire from original film materials • Brand new reconstruction of Operation Titian using original film materials and standard definition inserts • Optional English subtitles for the deaf and hard of hearing on all four versions • The Trouble with Titian Revisited — a brand new visual essay in which Tim Lucas returns to (and updates) his three - part Video Watchdog feature to examine the convoluted production history of Blood Bath and its multiple versions • Bathing in Blood with Sid Haig — a new interview with the actor, recorded exclusively for this release • Archive interview with producer - director Jack Hill • Stills gallery • Double - sided fold - out poster featuring original and newly commissioned artworks • Reversible sleeve featuring original and newly commissioned artwork by Dan Mumford • Limited edition booklet containing new writing on the film and its cast by Anthony Nield, Vic Pratt, Cullen Gallagher and Peter Beckman

Another writer - director who was himself, like Fuller, at the forefront of a particularly important moment in the history of American independent film, John Sayles, used his time introducing Park Row to eloquently characterize the film, in one of the overall best, most informed, beautifully delivered speaker presentations I've ever seen at TCMFF, as «Citizen Kane printed on butcher paper.»

Filmed in New South Wales and using primarily Australian actors, «Hacksaw Ridge» is nonetheless a quintessentially American war movie that honors the spirit and values of the U.S. military during one of the most destructive wars in history.

The film uses recycled footage from the show, but either as a substitute for the longer version or a recap for those of us who can't get enough of the political analyst trio of Mark Halperin, John Heilemann, and Mark McKinnon, it's a phenomenal and often funny triumph of election coverage repurposed as history lesson.

Two major goals of the film seem to be to faithfully document a crucial moment in history through entertaining fictionalisation and to use Lincoln's involvement as a way of shining some light on the type of person he was.

The Wilson Yip films, starring Donnie Yen, follow a more conventional historical biopic structure with the great man caught in the sweep of historic events leading to triumph and tragedy; while Wong Kar - wai's The Grandmaster uses Ip as a conduit to explore the passing of one age of China's history into another, with martial arts serving a metaphorical purpose.

There have been many feelgood movies that never won Best Picture leading up to 2008 — in fact, you could comb through Oscar history and find that voters used to think that happily - ever - after wasn't a substantial enough ingredient to award a film Best Picture.

It's a warm look at the Cold War that uses Janusz Kaminski's beloved floodlights to illuminate a footnote of American history, the film begins in New York circa 1957, where an unlikely bond was forged between a New York insurance lawyer and the Russian spy he was hired to defend in court.

For an introduction, the actor uses a humorous bit of production history to frame the film as a profound work of alternative mythmaking as well as a prescient vision of a privatized future.

The Buzz: The film's unique look — it was shot using a combination of live action and CGI backgrounds — and epic violence should help attract ticketbuyers without history degrees.

With Ricciarelli doing most of the talking and Fehling cracking generational jokes, they discuss the film's origins, the composite characters and factual material, the themes, Germany's reaction to the movie, the use of cantor music, the influence of the 1970s NBC miniseries «Holocaust», and the history depicted.

THE BAD: some horribly trite jokes liberally lifted from The Three Stooges, Laurel and Hardy and other older and oft - used sources, film - flubs galore (the girl who falls into bed under the covers, several darts hitting a car when only one flew out the window, the monster's position changing while on the table, etc.), the Inspector Kemp (Mars, Butch Cassidy and the Sundance Kid) and Frau Blucher (Leachman, The Last Picture Show) characters, and Madeleine Kahn's (High Anxiety, History of the World Part I) singing.

Rather it is a film that uses cats as a platform to dive into the history of a city, its people, its culture, and questioning what our relationship with cats says about us.

Set in Gillan's own hometown of Inverness, the film uses the tragic history of the Scottish Highlands (which has the highest suicide rate in the U.K.) to spin out an intimate coming of age tale, bolstered by Gillan's dark sense of humor and a firm understanding of how to play with narrative conventions.

What's constantly frustrating about The Current War is that it has an interesting period of history and three historically important figures, but the film has no idea how to use them.

Dennis Muren introduces a second piece about the film's innovative use of morphing technology and its place in effects history.

Using clips from more than 300 of the greatest movies ever made, this series explores film history and American culture through the eyes of over 150 Hollywood insiders, including Martin Scorsese, Brian De Palma, Sydney Pollack, Jim Jarmusch, Julie Dash, the Coen brothers, Steven Spielberg, John Milius, Jane Russell, Errol Morris, Walter Murch, Nora Ephron, and Quentin Tarantino.

The movie also digs (as much as an 80 - minute film can dig) primarily into The Wrong Man, Vertigo, and Psycho, using each film to illustrate not only Hitchcock's technique, but also where those films fall into film history.

Hailed by the New York Times on its Paris release as «one of the great films in motion picture history,» Raymond Bernard's Wooden Crosses, France's answer to All Quiet on the Western Front, still stuns with its depiction of the travails of one French regiment during World War I. Using a masterful arsenal of film techniques, from haunting matte paintings to jarring documentary - like camerawork in the film's battle sequences, Bernard created a pacifist work of enormous empathy and chilling despair.

«When people do a history of cinema, they do it using the films only,» said Jean - Luc Godard.

These EPIC films are once again available as a FREE resource that can be used by schools throughout the country and to inspire more young people to dig deeper into history.