Sentences with phrase «in cinematic space»

Dora Budor (b. 1984, Croatia) is a New York - based artist with an interest in cinematic space.

Although Danner has worked steadily in the cinematic space since 1972, thanks to a role in George Bloomfield's «To Kill a Clown,» and has made her mark in mainstream hits like the «Meet the Parents» series, Danner has — literally — never been a leading lady.

But it's not enough to make this particular sci - fi adventure drama romance flick a strong contender in the cinematic space race.

Not exact matches

Its triumph lies in its scope of cinematic splendour and the attempt to marry some of man's most beautiful music to the infinite mystery of space.

The camera sinuously glides through Sampha's life, connecting people and spaces with moments of cinematic surrealism, like the troupe of still dancers that haunt an abandoned swimming pool in Freetown, Sierra Leone.

A number of scholars pay attention to how the films of this period in America (roughly the late 1930s to the middle of the 1950s, depending on who you ask) construct themes of paranoia, madness, secrecy, and disillusionment through their use of shadows, visual space, and innovative cinematic techniques.

Moreover, in what's arguably a more brazen case of cinematic larceny, director Daniel Espinosa, best - known for the 2012 thriller Safe House, swipes his anti-gravity stylistics from Alfonso Cuarón, opening the film with a single, very long, VFX - heavy take that sends the camera around in gentle swoops from character to floating character as the space station itself tumbles slowly around its axis.

Thor: Ragnarok is further proof that in the Marvel Cinematic Universe, space... is weird, man — and everyone is fucking comedian.

But there really seems to be no stopping Gravity's craft - category onslaught, and its victories in the sound races in particular will prove that, in the cinematic silences of space, everyone can hear you scream, breathe, howl, «detach!»

Written and produced by the Chiodo brothers — known for their work on a host of special - effects laden hits such as «Team America: World Police» and the Critters movies — «Killer Klowns from Outer Space» is a cinematic experience unparalleled in this galaxy, now newly restored by Arrow Video for this stellar edition.

You've got your Volcano and Dante's Peak, you've got Deep Impact and Armageddon, and for those of you who don't see Disaster Movies as the be-all end - all of the cinematic form you've got Capote and Infamous... in which that southern writer was tossed at New York Society like a killer meteorite from outer space.

Also, right up there with Douglas Sirk's best work in terms of widescreen mise - en - scène and use of cinematic space.

There's a lot of space in between, so you can go deep into the cinematic language or into the story.

It seems somehow appropriate that our greatest cinematic chronicler of oddballs, misfits and malcontents should hold court here in a functional - going - on - drab space where the only distraction is the sound of the human traffic that passes beneath his window, many of whom, even at this early hour of the morning, seem to have wandered, fully formed, out of Leighland.

Created by Joss Whedon, Jed Whedon and Maurissa Tancharoen (the same team mostly responsible for Dr. Horrible's Sing - Along Blog and Dollhouse), Marvel's Agents of S.H.I.E.L.D. serves as a concurrent link between the various Marvel superhero projects, the Avengers films and its own space in the Marvel Cinematic Universe, rather than being a straight sequel to Whedon's 2012 film.

Throughout the film Buschel demonstrates a superb handling of cinematic space, isolating Gibson in the nooks and crannies of his gigantic frames.

In «Claustrophobic Terror: Creating a Thriller in Space,» director Daniel Espinosa and writers Rhett Reese and Paul Wernick take fans through their dynamic approach to creating the tense cinematic thrilleIn «Claustrophobic Terror: Creating a Thriller in Space,» director Daniel Espinosa and writers Rhett Reese and Paul Wernick take fans through their dynamic approach to creating the tense cinematic thrillein Space,» director Daniel Espinosa and writers Rhett Reese and Paul Wernick take fans through their dynamic approach to creating the tense cinematic thriller.

«Avengers: Infinity War» is both galactic in scale and allows space for the usual Mighty Marvel petty bickering (Iron Man vs. Dr. Strange, the battle of our cinematic Sherlocks) and spot - on humor (Ben & Jerry's, «Rabbit,» «Wait, there's an Ant - Man and a Spider - Man?»

While it's not on the same level of the anarchic collapsing of the forth wall humour in the classic 1953 Warner Brothers cartoon Duck Amuck, there are a couple of very playful gags constructed around an awareness of cinematic space.

In other words, «Homecoming» works by doing something that no Marvel (or DC) movie has done before, something that shows how this monolithic cinematic universe might hope to sustain itself once Thanos has been vanquished to the great space armchair in the sky and modern cinema's biggest mega-franchise becomes desperate for new ways to feel fresIn other words, «Homecoming» works by doing something that no Marvel (or DC) movie has done before, something that shows how this monolithic cinematic universe might hope to sustain itself once Thanos has been vanquished to the great space armchair in the sky and modern cinema's biggest mega-franchise becomes desperate for new ways to feel fresin the sky and modern cinema's biggest mega-franchise becomes desperate for new ways to feel fresh.

The Reverse Shot imprimatur has never meant much to the Academy (see our number one of 2010, Alamar — no, really, see it), and this space, in previous years, has rarely been occasion to diagnose the political or cinematic zeitgeist.

Ford's command of cinematic space and the language of the frame here is unparalleled, and the performances and everything else in the film match it.

As I said in my review, «Irwin Allen's somewhat cheesy 1960s sci - fi program gets a cinematic upgrade for the Netflix age with Lost In Spacin my review, «Irwin Allen's somewhat cheesy 1960s sci - fi program gets a cinematic upgrade for the Netflix age with Lost In SpacIn Space.

Irwin Allen's somewhat cheesy 1960s sci - fi program gets a cinematic upgrade for the Netflix age with Lost In Space.

There's a depth to a Minnelli film, both in story and use of cinematic space, that most studio directors never achieved.

Not everything from the movie's original 1998 Criterion DVD made it onto its 2003 reissue and the one item lost in that upgrade — the 25 - minute documentary «Angel of Space and Time», a 1970s episode from PBS» Cinematic Eye series — does not resurface here.

The Dead Space 3 soundtrack contains the most mood appropriate compositions in gaming, relating to what many feel as a real cinematic experience.

Since it is a very cinematic score, a lot of the themes play in that space where the violas would have been.

When connected, the third - party devices show up in PSVR's cinematic mode, a large 2D screen inside the virtual reality space.

To simply mock it is to deprive one's self a view of the unique triumphs of early game development: to make an engaging experience under dire hardware constraints, to create a game world with a tiny amount of program space to work with, to get players to percieve the wonders of a cinematic triumph in the form of simple blocky graphics and approaching footsteps.

Crowd Play allows for a new and instantly accessible way for players to enjoy Telltale entertainment together as a group, creating an experience that continues to break new ground in the space between games and interactive cinematic storytelling.

Crowd Play will allow for a new and instantly accessible way for players to enjoy Telltale entertainment together as a group, creating an experience that continues to break new ground in the space between games and interactive cinematic storytelling.

It's truly a marvel to behold with space lighting up in a visual ballet of lasers, missiles, explosions, ships being ripped apart and just overall a beautiful cinematic display of intense, epic space combat.

This week in MMO crowdfunding, Star Citizen released a new cinematic trailer featuring characters checking out derelict ships in - game, both on the surface and in space.

Scraps in Endless Space 2 are handled via real - time cinematic battle sequences that are somewhat reminiscent of Football Manager's match engine - fittingly, since Amplitude have just joined the Sega family.

Besides the obvious cinematics, storytelling, and graphical enhancements, the games industry and gamers in general have moved on from the traditional top - down space shooter genre that once dominated the gaming landscape.

Galaxy 2 may not match the first game in terms of it cinematic approach or heartfelt side - stories — with Bowser seemingly invading the Mushroom Kingdom and taking the Princess to outer space on a mere whim this time around — but the change is ultimately for the best.

Instead, God of War has six artifacts that equal the Marvel Cinematic Universe's Infinity Stones: Andvari's Soul is the stand - in for the Soul Stone; the Njord Temporal Stone is equivalent to the Time Stone; Eye of the Outer Realm is the Space Stone; Ivaldi's Corrupted Mine would be the Mind Stone; Asgard's Shard of Existence is the Reality Stone; and Muspelheim's Eye of Power equates to the Power Stone.

Dead Space was a prime example of the cinematic storytelling experience that drove many of the best games in the 2000s.

Akdogan often utilizes objects counter to their intended use — traditionally, colored gels for cinematic and theatrical lighting create distinct light conditions while remaining hidden from view; the artist extracts and edits the atmospheric and surface properties of these materials, often directly in the exhibition space — manipulating layers of color pigments, print, and light sources.

Selected Group Exhibitions 2016 — «Faculty Exhibition», Evanston Art Center, Evanston, IL 2015 — «Wish List», Gallery Project, curated by Gloria Pritschet and Rocco DePietro, Toledo, Ohio and Ann Arbor, Michigan 2015 — «Roots», Linda Warren Projects, Chicago, IL 2015 — Noyes Cultural Arts Center, Evanston, IL 2015 — «Faculty Exhibition», Evanston Art Center, Evanston, IL 2014 — «National Contemporary Painting», Weatherhead Gallery, University of Saint Francis, Fort Wayne, Indiana 2013 — «31st Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «30th Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «Narrative Fragments», Quidley & Company, Boston, MA 2011 — «Juxtaposed», juried by Alyssa Monks, Six Summit Gallery, Ivoryton, CT 2011 — «Paintworks», Gowanus Ballroom, curated by Kristin Kunc, Courtney Jordan & Hyeseung Marriage - Song, Brooklyn, NY 2011 — «Space Invaders», co-curated by Virginia Rose and John Nickle, Rose Contemporary, Portland, ME 2011 — «Cinematic Bodies», curated by Jamie Adams, Zolla Lieberman Gallery, Chicago, IL 2010 — «Snow», XL Projects, Syracuse University Gallery, Syracuse, NY 2010 — «Women Painting Women», Robert Lange Studios Gallery, Charleston, SC 2010 — «Remnants», Fuse Gallery, New York, NY 2010 — «Highlights» Island Weiss Gallery, New York, NY 2010 — «Conceptually Sound», Medialia Rack and Hamper Gallery, New York, NY 2010 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2010 — «Looks good on Paper», DFN Gallery, New York, NY 2009 — «Water / Bodies», Eden Rock Gallery, St. Barths, F.W.I. 2009 — «Summer Exhibition 2009», curated by Eric Fischl, Matthew Flowers, Anne Strauss, New York Academy of Art, NY, NY 2009 — «Old School», Jack the Pelican, Brooklyn, NY 2009 — Caldwell Snyder, San Francisco, CA 2008 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «City Lights», George Billis Gallery, New York, NY 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2008 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2007 — «Summer Exhibition 2007», curated by Eric Fischl, Jenny Saville, Vincent Desiderio, New York Academy of Art, NY, NY 2007 — «Four Handed Lift: Advocacy, Art, Spirit and Community», Moti Hasson Gallery, New York, NY 2007 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2006 — «Contemporary Imaginings, The Howard A. and Judith Tullman Collection», Mobile Museum of Art, Mobile, Alabama 2006 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2006 — «AAF», shown by DFN Gallery, New York, NY 2006 — «Salon 2006», New York Academy of Art, New York, NY 2006 — «LA Art Fair», shown by Linda Warren Gallery in Chicago, Los Angeles, CA 2005 — «New Works», curated by Eric Fischl, Jane Gallery, St. Barthelemy, F.W.I. 2005 — «A Terrible Beauty: Figurative painting in the 21st Century», Grey McGear Modern, Santa Monica, CA 2005 — «Small Works», Sarah Bain Gallery, Brea, CA 2005 — «Cityscapes», Sarah Bain Gallery, Brea, CA 2005 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2005 — «Go Figure», George Billis Gallery, New York, NY 2004 — «Postcards from the Edge, Visual Aids Benefit», Brent Sikemma Gallery, New York, NY 2004 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2004 — «Points of Muse», Linda Warren Gallery, Chicago, IL 2004 — «Separate Visions», Sarah Bain Gallery, Brea, CA 2004 — «Still Life», Sarah Bain Gallery, Brea, CA 2004 — «27th Small Works Exhibition», New York, NY 2003 — «Space Invaders», curated by Peter Drake, Fish Tank Gallery, New York, NY 2003 — «26th Small Works Exhibition», New York, NY 2002 — «National Arts Club 26th Annual Student Show», National Arts Club, New York, NY

Combining elements of the found, the photographic, the cinematic, the architectural, and the social, Gaillard provokes visual or associative connections between ancient ruins and neglected contemporary spaces, attempting to recuperate the past in the name of a devalued present.

Barnett Newman's zips, while abstract in nature, identify with cinematic and narrative space.

During the residency Sam Nightingale will go in search of these imagined landscape to make a new body of work that will build on his practice that enlivens cinematic spectral spaces.

Scenes from Western Culture (2015), comprised of nine «cinematic paintings» depicting idyllic visions of Western civilization, plus a series of new paintings made en plein air in the West Bank, are on view in the Chelsea space, while in Bushwick, he presents the four - channel video installation World Light - The Life and Death of an Artist (2015), the artist's interpretation of Icelandic writer Halldór Laxness's novel World Light (1937 — 40).

These media form a threshold through which Jasper explores the dissonance between imaginary and fragmented cinematic space and the physical experience of architecture, and in his work he also excavates history through postcolonial and experimental anthropological lenses.

True North's counterpart, Fantôme Afrique, weaves cinematic and architectural references through the rich imagery of urban Ouagadougou, the centre for cinema in Africa, and the arid spaces of rural Burkina Faso, and is punctuated by archival footage from early colonial expeditions and landmark moments in African history.

The work is tuned in situ, with Richards reacting to the acoustic contingencies of the space, creating a cinematic and multi-sensory experience — an arrangement of vivid emotional cues to be navigated subjectively.

At the heart of the exhibition, a cinematic space will feature the animated film Curtains (2014), in which a series of still stereoscopic images converge and diverge, becoming momentarily three - dimensional when viewed through anaglyph 3D glasses.

However, to distinguish the gallery space from a cinematic presentation, each projection is given its own distinct physical presence, and placed in such a way that they allow viewers to fluidly transition and carry with them impressions from one film to the next.