Sentences with phrase «film images of the nature»

In this non-narrative film images of the nature and architecture of his native Mauritius function as historical documents representing encounters between the island and its colonial past.

Not exact matches

There's an element of grain in the image, though it's appealing to the eye and truthful to the nature of the film, which, like many gialli, derives its beauty in part from the opposition between lighting that appears to be found and that which is clearly and expressionistically contrived.

Despite the obscure nature of this film, someone unearthed a nice looking print, as this transfer shows an image which is surprisingly sharp and clear.

Smart as hell and unapologetically surreal, its central motivating image is a tableaux vivant of Henry Fuseli's «The Nightmare,» tipping off not just the ethos of the film, but also that there may be running threads concerning mothers (Fuseli was Mary Wollstonecraft's lover), monsters (Mary being the mother of Mary «Frankenstein» Shelley), the empowerment of women (the mother again), nightmares, of course, and maybe Romanticism, if only in the picture's awareness and perversion of nature.

Although the film's controversial nature depends in part on the explicitness of some of the unsimulated sex scenes — an ejaculation shot, for instance, and images of cunnilingus in which the labia are clearly visible — the crux of the problem for many critics has been the slender division between fiction and documentary.

The elemental nature of the fable and the film's quietly radical yet complementary merging of sound and image go hand in hand to summon a world that's as ephemeral as its protagonist's states of being, yet contains an emotional richness that remains ineffable.

Furthermore, the wide photography of the images in nature that play a large role in the film's journey are rendered completely uneffective.

That's the big problem: everything in the film is so solid, so real - seeming (partly as a result of Gondry's brilliant way with analog as well as digital illusion, and techniques like stop - motion), whereas the novel is by nature light, a construct of weightless, casually handled language from which images emerge as if by magic.

The film then cuts to images of nature, water rushing by, and a jagged road slicing across the screen like Dali's razor blade slashing an eyeball.

He is also alluding to the exploration of representation and the nature of filmic images with which his film will hereafter be concerned.

The movie continually suggests Tully's otherworldly nature, too, cutting to dreamlike images of mermaids swimming, and, for most of the film's running time, containing the Tully — Marlo scenes to their specific nighttime appointments.

Likewise, the meticulous sound design that permeates Weerasethakul's cinema envelops the viewer from the opening moments, as the rumbling of machinery does battle with the soft susurrus of nature before the film's first image arrives.

, a feature - length documentary on the entire series (from the memorable Second Sight Films release of the film); In Search of the Hotel Broslin, a 2001 featurette with Henenlotter and rapper R.A. «The Rugged Man» Thornburn; a six - minute outtakes reel in HD from a 2K scan of a 16 mm print; The Frisson of Fission: Basket Case, Conjoined Twins, and «Freaks» in Cinema, a new video essay by Travis Crawford discussing the history of films featuring «freaks of nature»; a set of image galleries (promotional stills, behind the scenes, ephemera, advertisements, home video releases); a promo gallery featuring 3 theatrical trailers (all in HD from 4K sources), a TV spot (also in HD from a 4K source), and 2 radio spots; The Slash of the Knife, a rarely seen short film made by Henenlotter prior to Basket Case; an audio commentary on The Slash of the Knife by Henenlotter and Mike Bencivenga; outtakes and an image gallery from The Slash of the Knife; Belial's Dream, an animated short story by filmmaker Robert Morgan; and last but not least, a 28 - page insert booklet featuring the essay «Case History» by Michael Gingold, «Cham - pain in the Park!»

Kessling works across a range of media such as photography, film, and performance, and here the images reflect performative tools for exploring identity, often juxtaposing the artist's own body with objects and materials such as dust sheets, clay, fabric and paper bags used with transformative effect — the temporal nature of the performative movement frozen in a single gesture — a single still from an action, or a response to an art - historical identity.

The film employs images of traditional Chinese themes such as the five elements — metal, wood, water, fire, and earth — in a symbolic exploration of the nature of time and how we try to make sense of it.

As the video unfolds, the makeshift quality of the backdrops — the air bubbles and warping reminiscent of poorly applied wallpaper as well as the cardboard edges and the flatness of the photographic images — becomes apparent, pointing to the constructed nature of the film.

The film shows images of nature (lightning, flowers, seascapes) and architecture.

The work is entitled Film and deals with the typical nature of the analogue film in contrast to the digital image.

Seen as a whole, his practice raises fundamental and evergreen questions about the value of images and art, the nature and possibilities of painting and film, the intertwined relation of our subjectivity to cultural identity, and the ways we address what we experience in life in parallel to the mediated world of images.

The artist has created a groundbreaking body of work that explores the nature of representation and the ways in which the images of film, television, and advertising influence our understanding of our identity and of the world around us.

Addressing the structure of the medium, the nature of the cinematic experience, the relationship between still and moving image, the quality of illusion, the power of narrative, the live act and its representation, Wallinger's film and video works have explored an astonishing thematic range with great intelligence and originality.

His installations, sculptures, paintings, photographs and films address ever - changing notions of reality and the temporal nature of images.

These works explore the nature of representation and the ways images of film, television and advertising influence common human perception of identity and the world.

A documentary, work of fiction and essay film, Facs of Life maps several trajectories of life and thought, beginning from a series of encounters: with video footage of Gilles Deleuze's courses at Vincennes (1975 - 76), with a number of students who attended the seminar and who appear in these images, with the woods where the university buildings once stood, and with students of the new university at St Denis; The eight plateaus that compose the film each fall under a key concept - word that defines the territory of each student's relationship to Deleuze's thought and the nature of the filmmakers» encounter with them.

Since 2000 Sturtevant has embraced film and video, advertising and internet - based images, producing work that reflects the fragmented and pervasive nature of our image - saturated culture.

An artist continually writing his signature in a spiral for the life of an ink cartridge (Tom Friedman); a square section of drywall polished to a fragile, mirror - like finish (Karin Sander); a film that records an image of the sun from sunrise to sunset (Paul Pfeiffer); a rectangular Plexiglass volume with water inside it (Hans Haacke), are but a few examples of how modest means evolve into objects which are complex ruminations on presence and absence, nature and culture, order and chaos.

Known for his work in film and photography that combines intricate surfaces with an investigation into the nature of perception and the present - day image, Lassry has become one of the most celebrated young artists working today.

For Chicago - based photographer, film - maker and music producer Reuben Wu, who created these striking images of nightfallen mountains haloed with a single circle of light, land art can also be a «zero - trace» practice that leaves its natural subjects untouched, yet creates the sense of drama seen in these magnificent photographs that prompt us to look at nature in a slightly different way.