Sentences with phrase «mm film stills»

/ Lonnie van Brummelen & Siebren de Haan, Monument of Sugar - how to use artistic means to elude trade barriers, 2007, 16 mm film still (detail), courtesy of the artists.

Not exact matches

«While the era of 35 mm will end at this time, there will still be some older films circulating in print for some cinemas,» Hancock said.

As one would hope, there will definitely be special IMAX 70 mm film showings at the few remaining «real» IMAX theaters, but they will be in 3D with dual projectors, so this will still be pushed as 3D.

This will be a challenging task as multiplexes have gone digital, and few art house theaters outside Los Angeles and New York can still project 35 mm film.

We are so fortunate to still get great guests and films, and to have the facility at the beautiful movie palace, the Virginia Theater, to show movies on celluloid as well as in 70 mm.

«There are still a few steps left until the film is completely finished (designing titles and credits, getting the digital workprint back to 35 mm, etc.) The independent company that produced the film, MK2, is now working on the site and trailer.

Although the film lacks an engaging narrative or structure and has none of the stunningly composed long takes and bravura performances found in 0.5 mm, Han Han's trademark scepticism and wry reserve still shine through in his first directorial effort.

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).

This box set version also contains, within its plush exterior, a set of eight limited edition card prints, an exclusive Senitype still with 35 mm film frame, a collection of six black - and - white screen - captures, and a 27» x40» theatrical poster.

, a feature - length documentary on the entire series (from the memorable Second Sight Films release of the film); In Search of the Hotel Broslin, a 2001 featurette with Henenlotter and rapper R.A. «The Rugged Man» Thornburn; a six - minute outtakes reel in HD from a 2K scan of a 16 mm print; The Frisson of Fission: Basket Case, Conjoined Twins, and «Freaks» in Cinema, a new video essay by Travis Crawford discussing the history of films featuring «freaks of nature»; a set of image galleries (promotional stills, behind the scenes, ephemera, advertisements, home video releases); a promo gallery featuring 3 theatrical trailers (all in HD from 4K sources), a TV spot (also in HD from a 4K source), and 2 radio spots; The Slash of the Knife, a rarely seen short film made by Henenlotter prior to Basket Case; an audio commentary on The Slash of the Knife by Henenlotter and Mike Bencivenga; outtakes and an image gallery from The Slash of the Knife; Belial's Dream, an animated short story by filmmaker Robert Morgan; and last but not least, a 28 - page insert booklet featuring the essay «Case History» by Michael Gingold, «Cham - pain in the Park!»

He combines quotations from those interviews with archival photos — as well as stills from 16 mm film — in Voices from the Moon: Apollo Astronauts Describe Their Lunar Experiences, co-written with his equally Apollo - obsessed wife, Victoria Kohl.

Chris Larson, Land Speed Record (still), 2016, installation with color digital video, black - and - white Super 16 mm film, sound, and sculpture.

Image Credit: David Lamelas, Time as Activity London, 2011, still from a 16 mm film, 16 minutes, 46 seconds.

2012 Still from 16 mm film (colour, silent) 9 mins.

MICKALENE THOMAS Screen Test: Joyce, Screen Test: Que, Screen Test: Racquel, Screen Test: Mickalene, Screen Test: Angel, Screen Test: Theolanda, (film still), each: 2016 hand - painted super 8 mm film, black and white, silent duration: 7 minutes dimensions variable LM22924

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.

Tacita Dean Craneway Event [Still], 2009 16 mm colour anamorphic film, optical sound 1 hour 48 mins 13th May — 23rd June In November 2008, Tacita Dean filmed the choreographer Merce Cunningham (1919 — 2009) and his dance company rehearsing for an event in a former Ford assembly plant in Richmond, California.

Each will focus on a different aspect of Dean's practice; the NPG will show her portrait work, including her six - screen portrait of Merce Cunningham, the National Gallery will display still lifes (both 15 March — 28 May), and the RA will show landscapes — among them, a new 35 mm CinemaScope film called Antigone (19 May — 12 August).

Tacita Dean Craneway Event [Still], 2009 16 mm colour anamorphic film, optical sound 1 hour 48 mins 13th May — 23rd June

Still from The Funeral of Marlene Dietrich, 1999, 16 - mm film.

Film stills from Phonokinetoscope, 2001, 16 mm film installation with modified turntable and 33 1/3 rpm vinyl lp.

Tamara Henderson Accent Grave on Ananas (film still) 2013 16 mm color film with optical sound 2:44 minutes Sound Credit: Dan Riley.

which includes inkjet prints, C - prints, bronze sculpture, Polaroids, digitized 16 mm films, and film stills, points to the importance of Haxton's

Jenny Perlin, Still image from «Inks,» 16 mm film loop, b / w, 5 seconds, 2014.

Tacita Dean's 16 mm film «Day for Night,» which features the still life paintings in Giorgio Morandi's studio, will be presented at The Jan Shrem and Maria Manetti Shrem Museum of Art at the University of California, Davis from January 16 until May 13, 2018.

Ewelina Bochenska, (film stills) LOA, 2013, 16 mm film decayed in homemade concoctions, including tumeric, fruits, flowers and organic material.

Duncan Campbell, Bernadette, 2008, film still, 16 mm film transferred to digital video, 38» 10», Courtesy of the artist and Rodeo, Istanbul / London IMMA presents the first major exhibition in Dublin by Duncan Campbell, recicipient of the 2014 Turner Prize.

Pat O'Neill: still from Runs Good, 1970; three - channel continuous video projection, transferred from 16 mm film; color, silent; BAMPFA, museum purchase: Phoebe Apperson Hearst, by exchange.

Brent Green: still from Gravity Was Everywhere Back Then, 2010; 16 mm film and digital photographs transferred to digital video; color, sound.

The exhibition, which includes inkjet prints, C - prints, bronze sculpture, Polaroids, digitized 16 mm films, and film stills, points to the importance of Haxton's work in the history of conceptual practice.

Babette Mangolte, (NOW) OR MAINTENANT ENTRE PARENTHESES, 1976, Film Stills, 16 mm film / DVD, 10 min.

This Is Not a Time for Dreaming, 2004 (film still); 16 mm film; 24:00.

Rivane Neuenschwander, Pangaea's Diaries - still, 2008, Digital photographs transferred to, 16 mm film loop and projectorDuration: 1 minEdition of 8

Image: John Smith, The Black Tower, 1985 - 87, still from 16 mm film, colour, sound, 24 min.

Image: Simon Starling, Black Drop, 2012 (still), 35 mm film transferred to HD.

Now, the 16 mm film camera defines much of her artistic practice with the still camera image also playing an important role in her career.

Tacita Dean, The Green Ray, 2001, 16 mm colour film still, silent, 2.5 mins.

Lunch Break (Assembly Hall, Bath Iron Works, November 5, 2007, Bath, Maine), 2008 (still); 35 mm film transferred to HD; 80 min.

Tacita Dean, Providence, 2017, 35 mm anamorphic colour film still, reduced to 16 mm spherical format, silent, 5.5 mins, continuous loop.

Tacita Dean, Event for a Stage, 2015, 16 mm colour film still, optical sound, 50 mins.

Still from 35 mm film transferred to video, 8 min, 43 sec loop.

Image credit: Leslie Thornton Peggy and Fred in Hell: Folding (1985 — 2015) Still from digital video (originated on 16 mm film), 95 mins Courtesy of the artist

Marion Cajori and Amei Wallach, Louise Bourgeois: The Spider, the Mistress, and the Tangerine, 2008, still from a color film in 16 mm, 99 minutes.

These installations consist of viewer - activated 16 mm film loops projected either onto or into tableaux (which consist of props with sheets of ground glass) or onto photographs in which the film image blends with the still images.

Brian Jungen and Duane Linklater, still from «Modest Livelihood» (2012), Super 16 mm film transferred to Blu - ray, 50 minutes, Walter Phillips Gallery, The Banff Centre.

Robin Schaefer's most recent work is about layering time and memory and my process involves taking stills from old 8 mm family films and printing them on thin translucent Japanese paper.

Stripping vintage lengths of 16 - and 35 - mm film of their emulsion and dissolving the murky material into clear acrylic paint which he then airbrushes onto canvas, Zilm collapses entire films — close - ups, slow pans, fast tracking shots, high angles, medium angles, reverses, zooms, aerial shots, encoded soundtracks — into mysterious black - and - white paintings that appear to be film stills in their own right.

Photo: Hail the New Puritan, 1986, 16 mm film transferred to video, sound (still).

Brian Jungen and Duane Linklater, still from «Modest Livelihood» (2012), Super 16 mm film transferred to Blu - ray, 50 minutes, Walter Phillips Gallery, Banff Centre.

Robin Rhode, The Storyteller, 2006 Video still, 16 mm film transferred to DVD, duration: 13 mins Courtesy of the artist and Perry Rubenstein Gallery, New York