Sentences with phrase «film movement as»

Coming up through the «mumblecore» film movement as a director and screenwriter, Andrew Bujalski made the leap to the higher - budgeted indie scene with Results.

Arriving from the postwar America experimental film movement as a sort of answer, at least initially, to Buñuel and the surrealists, Anger's artifice and... Read more»

Not exact matches

Although at times Scenes seems to be administering the physic of the consciousness movement in rather heavy doses, the film is too complex to be dismissed as a celebration of «How to Save Your Own Life» in the mode of Erica Jong, Jerry Rubin or Gail Sheehy.

A serial nexus might be described as a «motion picture» film, in which a rapid series of individual occasions of experience project movement.

The film's pacing nicely echoes the undulating movement of the book, as it moves from chilling confrontations with orcs and trolls and ringwraiths to episodes of tranquil splendor in the elven realms of Rivendell and Lorien.

Cult: great devotion to a person, idea, object, movement, or work (as a film or book); especially: such devotion regarded as a literary or intellectual fad.

Definition of CULT 1: formal religious veneration: worship 2: a system of religious beliefs and ritual; also: its body of adherents 3: a religion regarded as unorthodox or spurious; also: its body of adherents 4: a system for the cure of disease based on dogma set forth by its promulgator 5a: great devotion to a person, idea, object, movement, or work (as a film or book); especially: such devotion regarded as a literary or intellectual fad b: the object of such devotion c: a usually small group of people characterized by such devotion

The film helped establish Human Rights in Childbirth as a global movement.

The film ignited a juicing movement, and Joe is often referred to as «the face of juicing in America.»

Our solution to this problem was to film without music and then add the music back to the video scoring the music to the movement and exercise as best as can be done until the rep speed drastically slows down because of fatigue.You will notice how the music ebbs and flows with the intensity of the exercise and even the breaks between exercises have their own special music that is much calmer in nature.

As an actor Buscemi has practically become a poster boy for the modern American independent film movement.

the movie evokes, as this one undoubtedly did, the more there will be a movement of unwarranted ridicule, especially if the actors in the film are good, solid, authentic people in real life.

Narrated by famed musician Melissa Etheridge, the film highlights the victories and defeats, challenges and uncertainties faced by the movement as the economic, political, and social tides fade and flow.

While the choreography is generally fairly minimal (at least for this sort of mega-production), first time film director Phyllida Lloyd (who helmed the original stage version) has woven together a tightly edited and exceedingly well shot film that capitalizes on the music wonderfully while never worrying too much about such nettlesome items as character or motivation, providing enough other movement that one ultimately doesn't miss huge dance numbers a la Robbins or Fosse that much in the long run.

Just as compelling, if not more so, is the film's careful examination of the origins of this country's right - wing extremist movement, starting with the Aryan Nation finding sanctuary in northern Idaho in the 1980s.

Wilkerson sees his film, no less than his family, as caught up with these cultural artifacts in the continuing movement of history — a history in which you might decide to be a liberal (if you're content to congratulate yourself) or, as a better choice, a radical.

Holmer films the story as if it were a dance performance, one where differences in movement and posture say more than words ever could.

Of the world premieres, the major gets for Toronto include Freeheld, Peter Sollett's LGBT drama starring Julianne Moore and Ellen Page; Stonewall, Roland Emmerich's drama about the birth of the gay rights movement; Alan Bennett's The Lady in the Van, which is rumored to feature an awards - worthy performance from Maggie Smith; Jay Roach's film Trumbo, starring Bryan Cranston as the famed Hollywood screenwriter Dalton Trumbo, who was blacklisted in the 1940s; Terence Davies's anticipated follow - up to The Deep Blue Sea, Sunset Song; Charlie Kaufman's first stop - motion film, Anomalisa; and Eye in the Sky, Gavin Hood's thriller about piloted aircraft warfare, starring Aaron Paul and Helen Mirren.

Robert Totten / Don Siegel — «Death Of A Gunfighter «(1969) A flawed, but nevertheless interesting, minor Western that fits neatly into the revisionist movement in the genre at the end of the 1960s / beginning of the 1970s, «Death Of A Gunfighter» is best remembered as the film that birthed the name «Alan Smithee» (or here in its original spelling, «Allen Smithee»), which became the standard DGA pseudonym when a director took their name off a movie for the next thirty years.

Sonya Childress Firelight Media Sonya Childress serves as the Director of Partnerships and Engagement for Firelight Media and has positioned film as a tool to shift narratives and support social justice movement building for over 15 years.

Revisiting this zany film in present - day among the MeToo movement makes the original storyline borderline cringe - worthy as if love can magically erase those undertones and legal ramifications.

As you watch film about the Attica prison riots, which may have been touched off by a racial incident, the segment goes on way too long and seems to stray from the notion of a Black Power movement.

Already widely cited and used in courses in film studies, film genre, and art and avant garde film, this updated edition situates «Transcendental Style», forty - five years later, as part of a larger movement in post-war cinema, the Slow Cinema movement.

After a string of incredibly successful art house favorites throughout the late 1960's and early 1970's, Herzog, who alongside trailblazing filmmakers Rainer Werner Fassbinder and Wim Wenders, was a major figure in the German new wave movement, turned his gaze to the film he correctly acknowledged as the single most important German movie of all time.

The years needed for change as in other civil rights movements echoes in the slow burn of win - appeal we suffer as an audience in the film.

In the mid-century, «the problem that has no name» described by Betty Friedan had not yet led to the women's movement, and women in film and in real life often felt invisible, as though all women cared about was keeping the house clean and the children happy.

In the electric first half of BPM (Beats Per Minute) the film charts the movement of a group of HIV / AIDS activists in France in the early 1990s, just as the virus became a household name and those ravaged by it had grown tired of the pervasive silence around the pandemic.

and groundbreaking cinematography by James Wong Howe that apes Wexler's, is a startling instruction on zeitgeist as it relates to movements in film.)

Zootopia unfolds as a mystery procedural, as Judy and Nick traverse the varied terrains of Zootopia to crash the place of a mouse gangster modeled after Don Corleone, drop in at a DMV hilariously run by sloths (whose slow speech and movements give the film by far its biggest laughs), and uncover corruption and conspiracy.

Baghead Jay and Mark Duplass, the celebrated and derided members of the low - budget film movement known as mumblecore, marry their talky relationship fare («The Puffy Chair») with a horror story.

The film chronicles her life as she went from spokesperson for sexual freedom to spokesperson for the anti-pornography movement.

This, combined with the film's extensive use of local non-professional actors, made Toni one of the biggest precursors of the Italian neorealist movement (no less than Luchino Visconti served as the assistant director!).

As the characters reveal little beyond their ability to choreograph their own movements within a relatively small space, The Strange Little Cat becomes a film that's easier to admire than actually enjoy.

Its melting pot approach to thought and movement was, at least in this particular film, very counterculture influenced, just as, say, the quasi-underground comic work of Alejandro Jodorowsky and others was in the days of «Metal Hurlant.»

Not that the characters look realistic, but within their established cartoon world, their movements are completely fluid, their environs intricately presented, and even the physics of their action carry the proportions necessary to avoid taking us out of the moment, as so many other recent animated films tend to do.

Following a single father who works as a human billboard in Taipei, and his left - to - their - own - devices kids, with the presence of their mother represented by three different actresses, the film has the barest thread of story (Tsai has admitted that he no longer has any real interest in narrative), and seems determined to provoke less patient audience members into walking out, with a series of shots that last upwards of ten minutes without all that much movement in them.

We've got a first glimpse from the film SUFFRAGETTE, with Carey Mulligan starring as Maude, a foot soldier of the early feminist movement who...

Just as these three films were eye - opening because of how they allow viewers, 50 years later, to witness the emerging student movement and its rapid radicalisation, so a feature - length fiction film from the same year, Tätowierung (Tattoo, Johannes Schaaf, 1967), proved to be a real discovery and, in my view, one of the festival's true gems.

Using cinematographer Hossein Jafarian's crisp images, Farhadi develops the mode of camerawork that would characterize his subsequent films, a technique that involves constant movement and reframing (especially in the apartment's beautifully designed interiors) in order to follow the shifting of perspectives among characters as well as the story's emotional twists.

Camera movement has deep and powerful roots — moral roots, as Godard would maintain — and it's one of the things that makes film an art.

As evidenced within the film and also in his previous outing, Hard Eight, Anderson has a knack for characterizations and in using camera movement and music to create sound so well, it could be said that he out - Scorsese's Scorsese.

Zoolander and Hansel are veritable Rip Van Winkles, but — distinguishing the film from its Austin Powers template, as well as Zoolander 2's immediate predecessor — it's the cultural innovations they encounter that are held up to ridicule, such as phones that are bigger than Zoolander's (redeeming his microscopic cellphone from the original), hipster patois (although «hashtag» has for some reason penetrated Derek's vocabulary), and a gender - neutral model (Benedict Cumberbatch) whose name, All, and uncanniness mock the trans movement at a particularly precarious moment in our history.

This collection of production - diary - style footage finds Brian De Palma on the set of his 2002 film Femme Fatale directing the shoot, a process that — as seen in these specific clips — includes rehearsals with actors Rebecca Romijn and Antonio Banderas, working through movement / blocking and fight choreography, and the management of the movie's bravura opening setpiece that takes place at the 2001 Cannes Film Festival.

While the film remains in development, it has not moved forward as quickly as Paramount originally envisioned, though recent movement in the studio's executive suites has complicated matters.

The film also proposes a dual gaze through the visual juxtaposition of action versus immobility, as when a long take films the protagonists stationary whilst indistinguishable bodies hurriedly move past the camera, creating flashes of movement.

by Walter Chaw Manny Farber described the films of Robert Bresson as «crystalline,» and it's hard to argue with the singular idea of purity represented by that word: they're all of gesture and implication, reduced down to the purest grist so that the powder of dramatic movements, rubbed together, might hum in miniature perfection.

More than any other director currently working, with the possible exception of Terrence Malick, Italy's Paolo Sorrentino conceives his films musically, working with motifs and movements as much as he does with traditional scenes.

Rather than embedding its meaning in narrative or something as immediately relatable as its characters» facial expressions, the film finds it in the pure abstract movement of lines and color and soundscapes that convey an unseen reality lurking beneath the surface.

The film is full of both marked and unmarked point of view shots, allowing us to both get a sense of the subjective view of certain characters as well as allowing us to view the scene through a camera freed from some of the imposed restraints of restricted movement that are characteristic of early sound filmmaking and classical Hollywood cinema generally.

Taylor blew in from Glencoe just as New York's independent film movement was finding an audience, small but loyal.