TimeGate, being
an independent studio saw fit to make a sequel.
Not exact matches
Film was going into a transition period that
saw the collapse of the huge
studio systems into small,
independent, personal films.
Furthermore, in a summer filled with overblown and script - weak blockbuster fare, it's nice to
see a relatively small «
independent movie» (I put that in quotes because the film is from Fox Searchlight Pictures, which is, after all, a subset of a major
studio), which delivers its goods without a single explosion or special effect (none visible, anyway).
The behind - the - scenes action of Living in Oblivion is no exception, and although we've
seen many films just like it in recent years, such as Mistress and The Big Picture, Tom DiCillo's (Double Whammy, Box of Moon Light) creation distinguishes itself by being about a
independent filmmaking, not greatly influenced by the dictation of a major
studio or bigwig producer, but by conflicts within the filmmaker himself.
The laid - bare poignancy and touching immediacy of these films are exactly the kind of thing that is too often jettisoned by
studio pictures; they're part of what makes indie film great, and connection with those common themes are, let's hope, a trend that we'll continue to
see in
independent film this year.
You can
see Gyllenhaal make a career U-turn after «Prince of Persia: The Sands of Time,» working with young directors on
independent projects or challenging
studio films - «Source Code,» «Enemy,» «Prisoners,» and David Ayer's «End of Watch.»
Horror as a whole has been
seeing a revival in the past few years, predominantly in the
independent scene but even mainstream
studios are getting it right every so often, and this pleases me.
As the year comes to a close and moviegoers start thinking of awards, there is no clear favorite for the Best Picture Oscar, but a general acknowledgement that 2013 has
seen several first - rate films, from major
studio releases (Gravity) to small
independent movies (Nebraska).
An extremely loose, glossy adaptation of the relatively obscure 2006
independent studio graphic novel of the same name by Scott Mitchell Rosenberg, Cowboys & Aliens isn't the first mash - up of Westerns and science fiction (Westworld, Wild Wild West and Back to the Future Part III are other examples), but it is one of the first in a popular burgeoning trend in mixing genres that has
seen books like «Pride and Prejudice & Zombies» become popular.
These elements are typically found in smaller
independent films but are incredibly rare to
see in bigger budget films released by a major
studio.
Thus,
independent movies and the
studio both seem to benefit from such a licensing deal, like the one that will
see Paramount handling the winter home video release of IFC's acclaimed Best Picture hopeful Boyhood.
It's not often you get to view a $ 100 million
independent production, so this is a good chance to
see what you can do with that sum of money, without
studio interference.
We've
seen a string of directors trade their success in smaller
independent features for big budget big name
studio roles, and after both Creed and Black Panther, it's tough to deny that no one has been as successful in making the leap as Ryan Coogler.
The film's culmination — a big twisty sci - fi reveal — is as novelistic as any of the genre's classics and as imaginative and moving as anything I've
seen in the past five years in either
independent or
studio film - making.
Sony Classics co-president Michael Barker called this season «tough» overall for both the
studio releases and
independents, though he's
seen the ups and downs before.
Already boasting a Foreign - Language Oscar nomination for «Incendies» and a string of strong
independent features, Villeneuve continues to prove his deeply confident footing in modern day cinema, bringing intelligence and muscular and mannered nuance to a somber and extremely tense
studio drama that doesn't deign to ever spell things out (the ending is probably the most bold
studio finale we've
seen in ages and seemed to even puzzle some).
Some of the best games out in the wild are those from
independent studios like this, so we were happy to give this game a go and
see if it was a rare gem among the larger games.
This is something we are
seeing a lot more than we used to, partly because it's now easier to get a game released as an
independent studio.
What would be fun to do in Super Smash Brothers then playing as a cube of meat, personally I think a whole lot of things but either way
independent studio really wants to
see their character Super Meat Boy to appear in Super Smash Brothers for Wii U and 3DS.
From
independent studio Pathea Games and published by Team 17, My Time At Portia has recently released via Steam Early Access, and we've set sail to Portia to
see what it's all about.
In the past couple of years, we have
seen a resurgence of
independent studios creating games for retro consoles.
The purpose of Steam Greenlight was to enable
independent developers, small time
studios, and non-published individuals to submit their games through the Greenlight backend and then the Steam community would be allowed to vote on the game and determine if it was worth
seeing it through to the official Steam storefront.
It is always interesting to
see what an
independent studio chooses to create as their first game.
«Over the years we have
seen tons of really great games coming from smaller
independent studios and our vision at Midnight City is to offer these games and development teams a wide range of services and support.
We are very gratified to
see a company the size of NVIDIA take notice and support an
independent studio like ours.
On Steam Greenlight, small
independent development
studios submit their games for consideration, and the users of Steam, the massive PC games retailer / community, vote on whether or not they'd like to
see the game go up for sale.
Kellee Santiago: I think there are some movements in publishers — but especially in
independent... or VC -LSB-- funded
studios]-- towards a more project - oriented funding structure like you
see in film.
Perhaps a small
independent developer with a crowdfunded MMO and a realistic expectation of development time, costs and eventual revenue might come up with the next great subscription MMO, but I can't
see any of the big
studios doing it.
David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The
Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the
studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We
Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.
In keeping with Salem Art Works» mission to create a collaborative and open space for art making, each
independent artist is encouraged to contribute to the communal life at
SAW including doing an artist talk and presentation, participating in
studio visits and critiques, and open
studios.
awards research enabling grant $ 7500.00, university of north texas, 2010 junior faculty fellowship $ 5000.00, university of north texas, 2010 purchase award, 1st national bank, columbia, mo 2008 fellowship, vermont
studio artist colony, vt 2000 jessie rickly award, st. louis artist guild, st. louis, mo 1996 graduate fellowship, university of washington, seattle, wa 1990 national fine art award, binney and smith, usa 1988 bibliography • light and depth at bruno david by ivy cooper, special to the beacon november 11, 2008 • laura beard, catalog, bruno david gallery, essay by charles schwall, november 2008 • fresh paint, fresh faces, inaugural columbia invitational, courtesy of jason pollen by ladan nikravan vox magazine, october 9, 2008 • comments and reviews of visual art, st. louis: open
studios tour by rob miller 2008 • perception / abstraction, laura beard aeling and gary passanise, by megan peters, the review, 2007 • varied show of bold abstracts revels in the joy of paint by teresa callahan, west end word, october 2004 • contemporary moves by sydney norton, west end word, october 2004 • laura beard aeling - winterkill at the st. louis ethical society by jeff daniels, art critic of the st. louis post dispatch, february 23, 2003 • something for everyone, by kate hackmen, kansas city star, june 29, 2001 «fresh raises expectations for the new», by caprice stapley of the review, july 2001, vol 3, # 9 • abstraction for the sensory overload by ben shockey, the review, 2001 • driven to abstraction by robin trafton, kansas city star, march 30, 2001 • landscape go in all directions by jeff daniels, art critic of the st. louis post dispatch, july 9, 2000 • this just in... painting still alive by jeff daniels, art critic of the st. louis post dispatch, summer 2000 • excavations: new paintings by laura beard aeling by jeff daniels, art critic of the st. louis post dispatch, mar. 19, 2000 • new american paintings volume 23, 1999 (national distribution) •: surreptitions by jeff daniels, art critic for st. louis post dispatch, april 1998 • extirpate by jeff daniels, art critic of st. louis post dispatch, december 17, 1997 • extirpate by eddie silva, art critic of the river front times, december 1997 • route 66 brings real art to life by Stephen weeks, the
independent, september, 22, 1992 • artist converge for route 66 revisited exhibit by stephen weeks, the
independent, gallup, nm, september 18, 1992 • route 66 art show a must
see at red mesa by gaye brown, the gallup gazette, 1992 • primarily paint at the laguna gloria art museum laguna gloria art museum, 1990
While we've already
seen independent studios render Valve's award - winning puzzle Portal inside virtual reality, one creative developer has taken the concept up a notch by bringing the futuristic first - person game to augmented reality — and it looks absolutely stunning.