Sentences with phrase «material qualities of film»

From hand - held shots to chemical treatments, these works emphasize the spatial and material qualities of film and video.

Gehr's 1970 film Serene Velocity is frequently cited as one of the premier examples of Structural film, a movement characterized by a fascination with the material qualities of film itself and a foregrounding of the experience of seeing as mediated by the camera.

Not exact matches

As one of the fastest growing segments of the packaging industry, flexible packaging combines the best qualities of plastic, film, paper and aluminum foil to deliver a broad range of protective properties while employing a minimum of material.

A research group led by Junichi Isoya, professor emeritus, University of Tsukuba and Tokuyuki Teraji, principal researcher, Optical and Electronic Materials Unit, NIMS, has successfully fabricated for the first time in the world single - photon sources of SiV (silicon vacancy) centers — one of the color centers in diamond during the growth of thin film diamond, which have high purity and crystalline quality — by introducing them at extremely low concentrations.

Jonathan Petrie led the epitaxial synthesis of strained oxide materials and catalytic testing, and Tricia Meyer assisted thin film deposition using a technique that employs a high - power excimer laser to vaporize material and deposit it as high - quality thin films under precisely controlled conditions.

Vohnsen and Valente speculate that this type of sensor may find applications in the quality inspection of planar materials, films, and coatings.

A study published in the Royal Society of Chemistry's Journal of Materials Chemistry A shows that the technique produces high - quality crystalline films with precise control over thickness across large areas, and could point the way toward mass production methods for perovskite cells.

Paramount has chosen quality over quantity for the Blu - ray release of «The Fighter,» with a strong collection of bonus material headlined by an audio commentary with director David O. Russell where he discusses the filming of the movie and how it compares to its real - life subjects.

The disappointing quality of the first two films demonstrated that the material didn't live up to its own would - be provocations.

Assuming for the moment that Hughes was not as fault (or at least was not deliberately writing terrible material for the sake of a fast buck), then much of the blame for the film's low quality must lie with Columbus.

For the most part, the film looks true to its seamy quality, and at any rate, the unrated version looks vastly superior to the material that fills in the included director's cut, all of which was clearly gathered from inferior sources.

Fatal Instinct is a major disappointment, a film that takes quantity (of source material) over quality (of jokes).

That it succeeds in capturing the essence of the hokey adventure and horror films of the 1930s, I'll grant you, so long as you grant me the fact that its source material isn't exactly quality filmmaking either.

The film's high quality makes it easy to recommend Warner's long - awaited Blu - ray release, which unearths an alternate ending and a wealth of really good bonus material, much of it previously unseen, to complement a fine HD feature presentation.

The context of a midnight screening accords a certain aspect of cinematic malpractice, as though the qualities that engender the potential danger of the twilight hours somehow infest the material of film, making it dangerous or somehow scandalous.

Kino Lorber released a nice Blu - ray edition, which looks great, even though the quality of its source material varies wildly; the old Lamar film clips are a bit fuzzy, while the new interviews are sharp.

It shouldn't come as much of a surprise that Warner's Blu - ray release of the seventh «Harry Potter» film is jam - packed with bonus material, but it's certainly commendable that the studio is still cranking out quality extras this far along in the game.

It's difficult to imagine anybody involved with this project having real, honest conviction in the quality of the material (one hopes, at the very least, that this was just a paycheck for the otherwise enormously talented Kristen Wiig), and it's even more difficult to reconcile the film's tepid, warmed - over look and feel with Berman and Pulcini's still - great American Splendor, a film Girl Most Likely couldn't be less like.

Cameron stripped all extraneous material to give a higher bit - rate to the film, which ostensibly should provide the highest quality image, and a portion of the proceeds from the DVD and Blu - ray sales will go toward planting one million trees around the world by the end of 2010.

Sure, the film isn't exactly Best Picture material, but what it lacks in quality it makes up for in charm (from its eccentric cast of characters to its pop - inspired soundtrack featuring classic dance hits like «Hot Stuff,» «You Sexy Thing» and «You Can Leave Your Hat On»), and sometimes, that's all it takes to make a hit.

The film's final stretch is shocking regardless of how much pre-knowledge the viewer may have, and that's not necessarily due to any surface qualities; a lot of it has to do with the intensity of Shiina's performance, and even more has to do with Miike's masterful command of his material, which swings from two tonal extremes, and quite credibly at that.

This is thanks to both the quality of the material and its telling; Nagy's script is perfectly pitched, as is Haynes masterful direction, but the real strength — and joy — of this film is found in its two lead performances.

It's increasingly rare to see Bruce Willis act like a professional and give a quality performance regardless of the material (of his last 12 films, his only worthwhile work was in Looper and Moonrise Kingdom), but perhaps he'll show his...

Knowing the director, the film plays out just as would be expected, but the quality of performance and less conventional (for Aronofsky, at least) approaches to the material end up transcending the potential for cliché.

Through resources on individual films as well as more generic resources, we aim to give teachers high quality, curriculum linked teaching materials which can be used within the technological possibilities of the classroom of the 21st century.

Rosa Barba's work ultimately extends into a conceptual practice where the medium of film is employed to explore any possible aspect of its material, sculptural, and narrative qualities and the ways it articulates space.

As part of the Dreamlands film series at The Whitney Museum of American Art, Jennifer West's films screen in The Color of Light, a program of artists engaging in the material, sensory and optical qualities of film.

In drawing from the music and art movements of the region as well as merging the distinct qualities of film and video to explore how the physicality of materials or actions is transferred into digital space, the artist also wants to break down the hierarchy of expertise.

Developed both PVD and CVD processes for thin film deposition of Sn - based material, PVD proved to give much higher efficiency and better film quality.