Sentences with phrase «in film narrative»

Jacques Rivette's dazzling 750 - minute Out 1 (1971)-- an eight - part serial in 16 - millimeter still unscreened in this country that remains one of the boldest experiments in film narrative ever attempted — was conceived as a kind of parody of Bazin's ideas in its deft mixture of documentary and fiction, its improvising actors working through a dense plot built around real and imagined conspiracies, and even its extended takes, one of which lasts 45 minutes as it records a theater group's exercise.

Not exact matches

But the narrative already has the makings of a feel - good Hollywood movie — so it should come as no surprise that a feature film dramatizing Ma's rags - to - riches rise is already in the works.

But that narrative went away when the film took in $ 27.7 million in its Thursday - preview screenings, the biggest preview - day figure ever going into Easter weekend.

So the question remains: Just how much of the narrative in «Zero Dark Thirty» is the result of the CIA's unprecedented degree of cooperation with Bigelow, and its attempts to get the film to promote the agency's preferred version of events?

Despite a real - life narrative stuffed with secrets and suspense, the film version quickly feels bloated as Stone treats us to scene after scene of Snowden struggling with his inner dilemma and, especially, with his devoted girlfriend, Lindsay, who is a major character in her own right.

Pollock, whose documentary, «Strange Fruit,» premiered at the South by Southwest Festival on Saturday, claims the new security tape featured in the film points to a cover - up of evidence on the part of Ferguson police, and a false narrative painted about Brown by city officials.

As an industry content leader, Participant annually produces up to six narrative feature films, five documentary films, three episodic television series, and more than 40 hours of digital short form programming, through its digital subsidiary SoulPancake — all aimed at entertainment that inspires social awareness and engaging audiences to participate in positive social change.

They claim that their movie is the first feature length narrative film to give the public an opportunity under the new rules to invest in it.

A discussion about the proper order to watch the films in the Marvel Universe (obviously, in order of release date, not narrative chronology, dummy) is not worth a rise in blood pressure.

One example would be Aimee Dorr Leifer's essay entitled «Teaching with Television and Film,» (TTF) published in N. L. Gage's The Psychology of Teaching Methods, a widely read Yearbook of the National Society for the Study of Education.1 Even in this essay, however, Leifer reviews what has been learned from various psychological studies of television and film narratives, and the limited range of the studies limits the vision of narrative teaching that she puts forth.

This approach would call foul on all sorts of things: Moses wielding a sword but not a staff; Moses being chatty but Aaron having almost no lines; Moses killing lots of people and fighting in the Egyptian army; no «staff - to - snake» scene; no repeated utterances of «let my people go»; no «baby Moses in the Nile» scene; and every other deviation the film takes from the narrative in Exodus 1 - 14.

The Iranian state has partly funded the film, most likely in an attempt to promote a Shiite understanding of the narrative of Muhammad's life.

Chocolate Milk: The Documentary counters this habitually negative narrative as award - winning director and producer Elizabeth Bayne, MPH, MFA explores the racial inequities of breastfeeding in her first feature - length film.

«Through villainizing and trivializing biological parents, or through erasing them from the narrative altogether, such as in Anne of Green Gables, the film industry has a reputation for missing the mark on the importance of biology to adoptees.

In a neat piece of narrative structuring on Tanovic's part, this David - and - Goliath story is told partially through the eyes of a film crew making a documentary on Ayan's astonishing findings.

For my own short film, Many Worlds, algorithms use brainwaves, muscle tension, perspiration and heart rate in a selection of the audience to adjust the story in real time, choosing the most appropriate of the film's four narratives to maximise intensity.

The narrative in film is unique in that it lets you explore the future before it is technologically feasible.

The results deepen our understanding of how the brain functions, how narratives work in film, and memory mechanisms impaired by conditions such as Alzheimer's disease.

In this documentary, plant - based diets are also shown to have a significant impact on our environment — the film subtly evolves from a narrative around nutrition and into a discussion around climate change, arguing that the decision to reduce meat consumption is perhaps the most profound choice an individual can make to reduce their impact on the earth.

«s run time - which I thought was two hours, but it really seemed to be like four - seems devoted to a tertiary subplot in the art house Coherence, a film that lacks traditional narrative structure and drips with the ideas mother!

Years of experience in the entertainment, fashion, film and tv world as on - camera talent combined with a decade of exploring energy healing traditions to include Shamanic Healing, Reiki, Voice Dialogue and Yoga helped Kahshanna sink her narrative, branding and media chops into her boutique media hub Kissing Lions Public Relations.

The DVD even contains the oft - forgotten «In Search of Dr. Seuss», a full 90 - minute film which is basically a series of set - pieces linking a whole bunch of Seuss's stories together into something approximating a coherent narrative.

This is almost surprising given that the narrative film takes place exclusively in a large prison in the Dominican Republic, alternating machismo with romance in a wholly believable way and with the two principal lovebirds exuding quite a bit of chemistry for inmates with little physical contact.

A much more restrained Xavier Dolan after his pretentious previous film, and he displays an assured direction and firm control of this suspenseful thriller, even though the narrative seems to move too fast as the characters start to act in ways that are not always convincing.

It's the first feature - length narrative film shot in a single take (on digital video, using a specially designed disc instead of tape).

Helmed by seasoned director Rory Kennedy (Last Days in Vietnam, A Boy's Life), the film takes a pretty straightforward and linear approach to Hamilton's narrative — a living, breathing memoir — beginning with his childhood days as a towheaded beach rat who chose pro surfer Bill Hamilton to be his dad.

The film, which is based on a television series (which was itself a spinoff from the Wallace & Gromit franchise), boasts a tremendously appealing stop - motion animation style that's heightened by an assortment of affable characters, and it's worth noting, too, that the movie's total absence of dialogue in no way hinders one's ability to get caught up in the briskly - paced narrative.

In the service of the film's narrative tricks, I'm omitting any mention of a few key characters and the good actors that play them.

What the film does is reimagine other horror films as meta - narratives, except in those cases, the characters never discover the truth about the artifice of their world, as Marty does, just like another fool, Truman Burbank in Peter Weir's The Truman Show, a horror film in its own right.

The film was obviously shot in one day, but the cast and crew rehearsed for months to time their movements precisely with the flow of the camera while capturing the complex narrative, with elaborate costumes from different periods, and several trips out to the exterior of the museum.

At 134 minutes, the film may seem challengingly long, but the strength of its ensemble cast and unusually evolving narrative results in a satisfying watch that's reminiscent of tucking in with an engrossing book.

The best thing that can be said about Bats vs. Supes is that it's rapid collapse at the box office may finally be enough to convince Warner Brothers to remove Snyder from any future DC Comics films and give them to those who've show an ability to deliver movies with coherent character, narrative and emotion in addition to pure spectacle — and preferably all of the above.

Let's set the film in the eighties for no real aesthetic or narrative purpose!

The Hangover series comes to a merciful close with an installment that's at least a slight improvement over its immediate predecessor, with the narrative, thankfully, going in a slightly different direction than the first two films (ie there's no actual hangover this time around).

The film might feel aimless in spots, but as more layers of the narrative are peeled off, you understand just exactly how things came to be and how Wyeth, John and Dee might want revenge for what was done to their parents.

That narrative slyness is especially welcome in Friedkin, acting as a palliative to the sensory overdose in which he habitually deals; such a contrast was nowhere to be seen in «Bug» (2006), a film that sent me straight from the cinema to the pharmacy in search of anti-itch cream, but we find it in the first half of «Killer Joe,» thanks to the title character.

This turned out to be a ham - fisted and theologically suspect film about a possible scenario at the end of the age, utilizing a lot of the imagery and the narrative as found in the book of The Revelation of John.

Sure, there's a flashback or two, but it doesn't jump around in the narrative like some of his other films.

The film, whose disparate narrative threads unsurprisingly never connect, drowns in weirdness for its own sake.

As this film progresses in its short narrative, we find out deeper elements of the real addiction of the few characters that we get to know.

Many of the scenes throughout the film contribute little to the overall narrative, but were obviously kept in for a reason, and a commentary or two could well have been a fascinating supplement to the movie proper.

Demme runs a tight ship and he knows how to produce a film that draws his audience in, even with a plot that is relatively guessable, and a narrative that hardly whizzes along.

In similar films such as «Tinker Tailor Soldier Spy,» «The Debt» and «The Good Shepherd,» past and present are blended in such a way as to suggest the legacy of trauma, a narrative strategy that seems highly relevant to Red SparroIn similar films such as «Tinker Tailor Soldier Spy,» «The Debt» and «The Good Shepherd,» past and present are blended in such a way as to suggest the legacy of trauma, a narrative strategy that seems highly relevant to Red Sparroin such a way as to suggest the legacy of trauma, a narrative strategy that seems highly relevant to Red Sparrow.

As the script begins to unravel the secrets of Miguel's ancestors, the film gets bogged down in its over-plotted family melodrama, with the last third in particular feeling like the filmmakers are running down a narrative to - do list.

Rather than collecting a bunch of funny people together on a set and just letting them riff, the film establishes coherent characters and drops them into a twisty mystery plot that's tightly crafted enough to generate some real narrative momentum while never getting too bogged down in its own plot that it forgets to be funny.

This film is a satire about the lack of real communication found in contemporary high - tech society.With no real narrative, beginning, or ending credits, it centers on Munson, his wife, and a bizarre orange - clad goggle - wearing exterminator named Elmo.

It's a lot like watching a movie and having someone interrupt you to tell you about something else that's happening in the film's world, without thought for pacing or narrative flow or whether you should even care.

What was made clear in discussing the film with its actor and director is that each sees Godard very differently, an aspect that manifests itself in the tension between the narrative and the intensity of Garrell's take.

McKenzie has effectively drawn us in, although lack of narrative makes the film frustratingly slow in spots.

The trick for a movie of this type, at least one that is aspiring to be more than just a simple - minded exploitation film (such as the original Charles Bronson «Death Wish,» a far more complicated work than usually given credit for, especially in comparison to its tacky sequels), is to create a narrative that somehow justifies such actions without completely overdoing it.