Sentences with phrase «mm film footage»

In addition to compiling around 175 photographs and examining his motivations and accomplishments both as a photographer and filmmaker, the exhibition will also present some never before exhibited rarities from his oeuvre such as vintage prints, unseen 16 mm film footage made inside Texas prisons, as well as his personal photo albums.

Composed from 16 mm film footage of the family possessions in her childhood home, Objection is equally concerned with the physical objects of the home, the memories attached to them, the sounds of family that never appear onscreen and the uncanny, eerie nature of the light - flares and mechanical abstractions inherent to the medium.

Incorporating footage from a wide variety of sources — from countdown leaders and coming attractions to training films and newsreels — and adding later his own 16 mm film footage, Conner developed a quick - cut method of editing which defined his oeuvre, and coupled with his use of pop music soundtracks, made films like COSMIC RAY (1961) and BREAKAWAY (1966) among the earliest precursors of the music video.

Highlights included Larry Clark's presentation of newly unearthed 16 mm film footage from Tulsa, SxSW and Austin Chronicle founder Louis Black introducing Austin filmmaker Eagle Pennell's film The Whole Shootin» Match, the Texas premiere of Celine Danhier's documentary on No Wave Cinema Blank City, and Glenn O'Brien's presentation of rarely - seen -LSB-...]

Weaving film footage from various sources, including countdown leaders, training films, and newsreels, with his own 16 mm film footage, Conner's films focus on disturbing but utterly current themes.

Sabrina Gschwandtner reactivates the beauty of winter at Wave Hill by creating illuminated film quilts comprised of 16 mm film footage shot onsite combined with found footage.

Employing a range of techniques, including collage, hand - drawn rotoscoping — a technique that involves tracing from frames of live film footage — interlaced still photographic images, and live 16 mm film footage, Breer composes lively, nimble films that present an intimate, modest, and personal portrait of slices of shared lives and eras.

Not exact matches

The film combines present - day interview segments with Goodall, now in her eighties, and never - before - seen 16 mm footage of her experiences in Africa when she was in her twenties.

«Techniscope is unique in that it can yield 22 minutes of footage from a single roll of film, as opposed to the standard 11 minutes of most other 35 mm formats.

Among the special features new to our Blu - ray edition of Ingmar Bergman's Wild Strawberries is a remarkable sixteen minutes of silent 16 mm footage filmed by Bergman himself on set.

Polley sets the film up as a series of interviews with family members and friends, and intersperses 8 mm home movie footage.

, German - language documentary in 4x3 SD with burned - in yellow English subtitles contains B - roll that provides a good impression of the filming conditions — including the look of the sets and the relatively small size of the handheld 16 mm film cameras — plus a clip of Burger delivering a lecture on his work in the camps and footage showing him consulting on set during the production.

«Welcome to Sherwood: The Story of The Adventures of Robin Hood» is an excellent making - of documentary that literally covers everything, using rare film clips from early Robin Hood versions, and fascinating outtake and 16 mm color / black & white behind - the - scenes footage (archived separately as well, with good commentary from Behlmer).

The contrast between the 8 mm home - movie footage that opens the film and the subsequent scene showing Murray's bookstore in its final throes sets the thematic stage: Fading Gigolo is intended to be as much about aging as it is about love and sex.

But that's not all: Using plenty of gorgeous footage from some of your favorite recent films, Saladino delves deeper into the appeal of his favorite format, which he calls the «perfect middle ground between the retro aesthetic charm» of 8 mm and the more polished look of 35 mm.

INDEPENDENT & FOREIGN FILMS The Black Power Mixtape 1967 - 1975 (Unrated) Cinematic collage culled from found 16 mm footage of vintage interviews conducted by Swedish journalists with leaders like Stokely Carmichael, Bobby Seale, Huey Newton, Angela Davis and Eldridge Cleaver at the height of the Black Power Movement.

The beloved Ghostbusters (1984) on 70 mm, a Vincent Price double feature (Tales of Terror and House of Usher) to the brand - new films such as The Master Cleanse, Blood Hunters, Egomaniac, Found Footage 3D) to live scores with silent films (The Unknown) and more.

All of these specials were traditionally hand - animated and shot on 35 mm film, so there isn't the usual fine detail you'd find in live action footage.

With the miraculous discover of a 16 mm print in Argentina, the Murnau Institute has been able to finally restore the film to its almost complete form (it is still missing a couple of minutes of footage).

It provides a 2.20:1 transfer derived from restored 65 mm elements whose image looks vibrant and beautifully detailed throughout, regardless of whether it's racing footage or interiors, and the various European locations look like picture postcards, particularly the scenes of Monaco shown throughout the film's first racing sequences.

In these works, everyday objects take on uncanny properties, as in Two Holes of Water No. 3, 1966, where suburban station wagons wrapped in plastic become mobile TV and film projectors, or in Prune Flat, 1965, in which a single lightbulb descends from above, its brightness washing out the piece's projected 16 - mm footage and restoring three - dimensionality to the world onstage.

During the 1970s, Polke slowed his art production in favor of travel to Afghanistan, Brazil, France, Pakistan, and the U.S., where he shot photographs (using a handheld 35 mm Leica camera)[7] and film footage that he would incorporate in his subsequent works during the 1980s.

Titles include Boomerang by Richard Serra (1974), featuring Nancy Holt vibrantly experimenting with the then - new and immediate medium of video; SHEDS (Jane Crawford and Robert Fiore), a short documentary produced for the 2004 Robert Smithson retrospective at the Museum of Contemporary Art, Los Angeles, that features newly compiled footage of two Smithson works (Partially Buried Woodshed and Mica Spread); video excerpts from artist Renee Green's Partially Buried gallery installation; and the experimental 16 mm films Monuments by Redmond Entwistle (2010) and Center of the Cyclone by Heather Trawick (2015), among other titles.

Highly autobiographical, the film itself is an homage to the artist's grandfather, incorporating 16 mm footage of the coast of Maine, shot by the senior Welling as a reference for his oil paintings.

Carolee Schneemann, Viet Flakes, 1965 7 min, toned b & w, 16 mm film Originally shot on 8 mm film, Schneemann layers a sound collage of Vietnamese sacred chants and American pop songs that capture one aspect of the 60's Zeitgeist, over footage of suppressed newpaper images depicting the American war in Vietnam.

Furthermore, he was one of the pioneers of avant - garde film - making, redefining the notion of film by including footage from highly diverse sources — from the countdown leaders of early films in the medium, to movie trailers and training films and newsreels — to which he added his own 16 mm footage.

«A Lover s Discourse» (detail)(2010) 16 mm film projector, turntable, LP record, amp, speakers, rope, found footage, and sound by Mauricio Ancalmo; dimensions variable

The newly completed film Black Drop (produced in association with Modern Art, Oxford and the Radcliffe Observatory, Oxford), unfolds in a 35 mm editing suite as an editor tries to bring structure and understanding to a varied array of material including: footage made on location in Hawaii and Tahiti on the occasion of the June 2012 transit of Venus, archive material, and ultimately footage of himself editing.

The Cremaster Cycle was all shot on video, but the footage is transferred to 35 mm film stock for projection.

Exclusively using analogue technologies, live - action footage, early computer graphics, stop - motion animation and in - camera effects on 16 mm films, Beckman's work is a carefully designed collage reminiscent of the 70s Structuralist filmmaking and the 80s No Wave cinema.

The bell tolling at the outset of Tigertail, 2007, Dara Friedman's new 16 - mm film, immediately calls to mind Toll, 2002, in which film footage was projected onto a drywall campanile she erected in the exhibition space.

Known for her elegant filmic investigations into visual gestalts, voyeurism, and perceptual memory, as well as her creative engagement with cinematic history, Rosalind Nashashibi presents several of her experimental 16 - mm productions from the past four years, including Bachelor Machines Part 2 (2007), which borrows footage and dialogue from Alexander Kluge's 1968 film Artists Under the Big Top: Perplexed; and The Prisoner (2008), a nod to Chantal Akerman's 2000 film La Captive.

Made in Tulsa in 1968, Billy Mann and others from Clark's seminal 1971 book, Tulsa, comes to life in this 16 mm black and white film footage.

The 16 - mm films and extended segments of 16 - mm footage incorporated into the Museum of Modern Art's current retrospective of Sigmar Police's work do both.