Sentences with phrase «medium of film as»

Testimonials are important, and using the medium of film as opposed to seeing a written testimonial is even more powerful.

Anton Vidokle's This is Cosmos turns its eyes to the stars and charts the Cosmism movement in Russia and its disavowal of death through cosmic energy, positing the medium of film itself as an irradiation treatment.

Not exact matches

While Waits remains somewhat of an anomaly in the music industry — he also acts, scores films and plays and was a regular guest on Bob Dylan's Theme Time Radio Hour show — he serves as an example of a truly multimedia artist, able to promote his work in one medium through the use of others.

Questions which the body politic or the academic world are unwilling to confront head - on are often dealt with through the medium of, say, science fiction: think of the Matrix films, or a novel such as Kazuo Ishiguro's Never Let Me Go.

Mix the ground meat, egg white, bread crumbs, shallots, oregano, dill, 1/2 teaspoon of the salt, and 1/2 teaspoon of the pepper in a medium bowl until uniform — that is, until the spices are spread evenly throughout; the bread crumbs, too; and the egg white is no longer visible as a scummy film.

Heat a generous film (about 1 / 8 - inch) of oil in a large sauté pan over medium - high heat and fry the meatballs in batches, adding additional oil as needed between batches, turning the meatballs to brown evenly, until they reach an internal temperature of 165 ˚F, 2 to 3 minutes.

On the exterior of buildings, the film can be applied to windows as an extension of brand image or as an ultra large format advertising medium.

City built oman free dating site huge variety of events such as speed in your area using baptist because matchmaking nyc they provide the medium of film but also about.

Densely woven as its sensory tapestry is, «White Shadow» never feels studied or affected in the way that films from artists graduating to the medium sometimes can do: There's plenty of room here for observational, seemingly ad hoc asides.

But the power of Ghibli can't be denied, as their films are an artistic medium all on their own and continue to amaze us with wonderful stories brought to life with dazzling talent.

Fascinated by the medium of film, Keaton soon began writing their pictures, and assisted in directing them; Keaton was soon starring in his own films, as well, though he and Arbuckle remained lifelong close friends.

Knaggs» career reached a peak in the mid -»40s, when he worked in supporting roles in ambitious major studio films such as None but the Lonely Heart (a fascinating but failed attempt at a serious drama by Cary Grant) and unusual independently made features like Douglas Sirk's early Hollywood effort Thieves» Holiday, while also making the rounds of such popular medium - budget Universal Pictures productions as House of Dracula, The Invisible Man's Revenge, and Terror By Night.

It's unlikely anyone who hasn't seen Wiseau's film will feel lost as the players are all well established over the course of the movie (not to mention that intro), and the surprise of how the film's story unfolds is certainly enjoyable the first time you hear it (no matter the medium).

The look of the film (what I can only describe as a medium format photography look) is very unique and satisfying.

First Reformed is about Schrader's film theories, about the transcendent possibilities of the medium, as much as it is about religion.

Given Nixon's lifelong inability to control the medium or come out looking at all decent on it, the film is as much a cheeky celebration of TV's candor as it is a reminder of this fascinating sidebar to American history.

Fernandez felt grateful for the opportunity, but reportedly hated the job itself so much that he hearkened off for the greener pastures of acting.Fernandez landed his first formal acting assignments as a guest star on episodes of the network series Cold Case and Jericho in 2006 and 2007, but truly came into his own as a star of low - medium budgeted independent films such as director Marc - Andre Samson's taut thriller Interstate (2006)(as a young man trying desperately to reach his girlfriend in Los Angeles, but waylaid by drugs and the trappings of an odd motel), and directors Lucky McKee and Trygve Diesen's violent psychological thriller Red (as a disturbed young man who plays the role of accomplice in killing a senior citizen's dog).

Both Thor and Thor: The Dark World presented us with something drastically different than what was before it, including expanding beyond the cosmos and accepting the God - like characters as normal, which really pushed the medium of comic book films, while also blending humor and action in a way that made the character both interesting and viable.

In addition to melding conventional setups with high grain inserts and smash zooms that tell the ninety - seven year history of motion pictures (using, ironically, D.W. Griffith's Birth of a Nation as the starting point), Mr. Tarantino remains faithful to the medium of film.

For the believer, its Blade Runner cyberpunk ultra-cool was an eye - opener, but to hold the film up as the standard for the medium means that a lot of people looking to it as their introduction believe that anime is a little excitement cordoned off by long stretches of confused, gravid exposition.

Linklater's preoccupation with temporality intensifies with each subsequent film in the trilogy, so that time itself becomes both message and medium, the principal subject matter of the films as well as the basic building blocks of their construction.

Akira's popularity obscures the finest examples of the medium, films that manage to balance serious metaphysical musing with actual forward momentum (the two Ghost in the Shell films, for instance); to tell adult tales in affecting ways (Grave of the Fireflies); to redefine genre thriller (Perfect Blue), action (Ninja Scroll), and fantasy (Princess Mononoke); and to present children's fables as artifacts that are as useful for adults as they are for kids (Spirited Away, My Neighbor Totoro).

Normally this kind of documentary manipulation would raise flags for some, but given Panahi's current predicament and subsequent longing for the medium (and additionally the film's unmanufactured feeling), it comes off as an intensely personal, resonant rebellion, an incredibly beautiful movie and one of his best films to date (read our review).

If the experience of reading Collins's novel is one of being inside a horrifyingly brutal reality television show, the experience the film adaptation offers is one more akin to watching one, and its success depends on our awareness of this relatively new medium as well as our willingness to critique it.

The film feels close to the recent Spider - Man and X-Men installments, not merely because of common origins (as one of many noteworthy Marvel lines introduced by Stan Lee and Jack Kirby during the medium's Silver Age), but also because of its grand sense of adventure, diverse roster of powerful mutants, and epic stage of effects - enabling spectacle.

I didn't think of the book as a narrative medium to be translated into a film until much later.

Predominately filmed in medium or close - up, the camera is in love with Lawrence, enhancing her role as the embodiment of all that's good in the world.

Criterion painstakingly restores and beautifully packages Medium Cool on Blu - ray, positioning the film as a definitive document of the political tumult in late - 1960s America.

Also, contrary to the notion that some people have of film as a dying medium, it's still very much alive and wonderful things are being done in it.

As illustrated in the film, when Langlois was sacked as curator in May of 1968, there arose among the buffs such a clamour that grey - suited riot police came to bludgeon protestors like Godard, Truffaut, Jean Marais, and Jean Renoir — film, the medium of our time, for a delirious moment, became the catalyst for a new French Revolution, the Cinematheque a cathedral and BastillAs illustrated in the film, when Langlois was sacked as curator in May of 1968, there arose among the buffs such a clamour that grey - suited riot police came to bludgeon protestors like Godard, Truffaut, Jean Marais, and Jean Renoir — film, the medium of our time, for a delirious moment, became the catalyst for a new French Revolution, the Cinematheque a cathedral and Bastillas curator in May of 1968, there arose among the buffs such a clamour that grey - suited riot police came to bludgeon protestors like Godard, Truffaut, Jean Marais, and Jean Renoir — film, the medium of our time, for a delirious moment, became the catalyst for a new French Revolution, the Cinematheque a cathedral and Bastille.

Medium jumps are never an easy thing to do, whether it's today's commonplace practice of remaking an old television series as a film residing between homage and parody, or as in the case of The Muppet Movie, simply bringing characters who found popularity on TV to a cinema audience.

I wish I could say this question was neat to ponder in an abstract sci - fi way, but the near future for film looks kind of dystopian, at least as we have traditionally understood the medium.

This focus may, like myself, leave some viewers disappointed that the marvellous work of Waking Life gets very little discussion yet it's probably his most thought provoking film and shadows the fact that, to begin with, Linklater was a philosopher that just happened to choose celluloid as the medium in which to express himself.

So while Vernon, Florida has become something of a Medium Cool for a new generation of film brats (All the Real Girls director David Gordon Green cites the work as one of his all - timers), The Thin Blue Line has become the moment that many point to as the definitive modern reintroduction to the debate about the matter of degrees that separates fiction from non-fiction cinema.

Everyone's favourite characters, much of the surreal narration (delivered with perfect dryness by Stephen Fry), and the original's distinctive theme music, are all present and accounted for — and in an age where CGI has become the slick new medium for special visual effects, an inordinate amount of physical modelling and creature puppetry have been used to give the film a refreshingly organic retro look, as though the crew from the original TV series had been lured back to their old tools by a much bigger budget.

Such shots are frequently celebrated in film — think of Martin Scorsese's use of tracking shots over the years, or the self - parodying opening of Robert Altman's The Player — but critics rarely call attention to them on TV, perhaps because TV is more of a writers» medium, or perhaps because they're simply not as showy as others, often blending into the background.

Renowned for its impressive cinematography and lighting, along with the use of interconnected sets and intimate close - ups, this was a film that pushed things forward as far as storytelling through the film medium.

There are two possible effects that come from lifting the title of a respected movie classic: on the one hand, it can be perceived as an audacious, assuring wink to savvy viewers that you're aware, as a filmmaker, of your movie's debt to hallowed classics of the medium; on the other hand, it can serve to accentuate how much more desirable revisiting older, better films would be, than to sit through a pretty bad new one.

«Kate Plays Christine «In the other Sundance film dealing with the Christine Chubbuck tragedy, «Actress» director Robert Greene takes an elliptical run at the story, telling it through the novel medium of following an actress, Kate Lyn Sheil, as she is preparing for the role of Chubbuck, which she will play in the film - within - the - film.

GLAAD's film (and other medium) nominees as well as the nominees and winners of GALECA (the Gay and Lesbian Entertainment Critics Association) are after the jump with commentary and in some cases links.

Tonkin charts Greene's love for film through the decades — from his years as a famed film critic (during which he wrote, Tonkin says, «perhaps the most notorious notice in the history of film criticism» about Shirley Temple) to his days as a movie insider and collaborator with such luminaries as Alexander Korda, Alberto Cavacanti, and, of course, Reed, with whom he made his most lasting mark on the medium.

The limitations of the medium are evident and thus the 1.85:1 imagery is grainier than and not as sharp or defined as most modern films.

He films his characters» conversations at right angles, a two - shot with them facing each other, perpendicular to the camera, followed by medium close - ups of each actor as they face the camera directly and speak in turn, Green not cutting until they've finished what they have to say.

That it messes with structure and medium is nothing new, but as with the casting of Downey Jr. and Monaghan as grammar - school classmates (even as it's commenting on Hollywood's treatment of women, it's guilty of it), as it's fucking with the way we look at film and understand narratives, it's indulging in the topsy - turvy, smart - alecky vogue of Guy Ritchie / Christopher Nolan chic.

Viewed solely as two family friendly films, the double feature works because of the intelligence behind both and the similarity of the approaches regardless of the medium employed to bring it life.

The question of the title of the film therefore takes on a deeper resonance as one considers the tantalizing mélange produced by a marriage of noir, the western, and a jazz movement founded on unrest and violence, sold through a uniquely Japanese medium (animé, natch) that has been the vehicle for some of the most profound examinations of nihilism, violence, and romanticism (thinking especially of masterworks like Grave of the Fireflies and last year's Spirited Away) in the modern cinematic vocabulary.

Other films carried the torch for film as a medium for social justice: the angry, bracing I, Daniel Blake, Spotlight — which played like the taut political thrillers made by Pakula and Lumet in the 70s — and Katharine Round's lucid expose of the effects of inequality, The Divide.

Film scholar Gilberto Perez, in his brilliant work The Material Ghost: Films and their Medium, expresses as well as anyone I've read the physical experience of watching a film on screen: The...

Even disappointments can often have that one scene that catches you off guard or moves you unexpectedly, a hallmark of film's power as an artistic medium.

Apropos of his own films» fixation upon the natural world and their vaguely pantheistic bent, Malick likened silent cinema to a tree that was cut down prematurely, and described Ménilmontant as an indication of how the medium may have evolved had talkies come around ten years later.