Not exact matches
From the opening minutes of Craig Gillespie's unreliably narrated, glibly entertaining biopic I, Tonya, it's clear that Margot Robbie has disappeared
into the role of disgraced
figure skater and
pop culture punching bag Tonya Harding.
Take some squeaky clean young stars, add a couple of fashionable
pop culture figures and throw them together
into a crime - based party movie set during the annual student rite - of - passage: sounds like a sure fire recipe for success, right?
At the film's recent press day, McKay, Lewis, Bale, Carell, Gosling, Hamish Linklater, Jeremy Strong, producer Jeremy Kleiner, and screenwriter Charles Randolph talked about turning the book
into a movie and adapting it to the screen, why McKay was the right person to direct, what drew them to the project, how the actors met their real - life counterparts in preparation for their roles, the decision to combine a cinema verite documentary approach with other stylized elements, breaking the fourth wall, and using celebrities and
pop culture figures as an entertaining storytelling device to explain complex financial concepts to the audience.
Music and
pop culture plays an integral role throughout in «setting the scene,» as it were, and Gerwig's choices for the songs that play in various key moments are almost always pitch - perfect (Dave Matthews Band's «Crash
into Me»
figures prominently in the narrative — and, as an aside, will be stuck in your head for days after seeing the film).
So if you missed book promotion opportunities in 2007, keep in mind that — in 2008 — part of your job as an author or publisher is to keep an eye on
pop culture, and
figure out how your messages tie
into the news.
«Blasphemous» Brazilian artist under fire for turning religious
figures into pop culture icons
Incorporating recent historical events,
pop culture, television technology, and elements of his own
figure into his work, Jackson comments on the way history has shaped our present moment, creating a body of work that reads as a new interpretation of post-war America.
Grooms's signature style fuses fine art and
pop culture imagery, collapsing
figure and ground
into an abstract field.
Caulfield, who died in 2005, disavowed the
Pop artist label — Juan Gris, Fernand Léger and formal problems were his bag — whereas Hume, now in his early 50s, has always been comfortable pulling
into his work
figures from popular
culture, such as Kate Moss or Michael Jackson.
Cartoonish drawings, symbols from
pop culture, and
figures that morph
into abstraction appear in bright, sunny colors often times accompanied by text.
Leckey's interests might have shifted throughout the last decade — from an obsession with
pop culture, subculture and the
figure of the dandy in earlier films such as Parade (2003), and in his band collaboration DonAteller, with fellow artists Ed Laliq, Enrico David and Bonnie Camplin; to the high / low
culture face - off of his BigBoxStatueAction performances (2003 — 11), in which Leckey's giant speaker stack confronts icons of modernist British sculpture, such as Jacob Epstein's Jacob and the Angel (1940 — 1); to his later multimedia performance lectures, the Internet - driven epiphany of dematerialisation In the Long Tail (2009) and its antithesis Cinema - in - the - Round (2006 — 8), with its more reflective inquiry
into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997).
Gastman will not only be looking
into the roots and historical
figures of Graffit and Street Art, but also take an in - depth look at just how expansive street
culture has become in the worlds of contemporary art, photography and other mainstream
pop and art movements.