Sentences with phrase «mm films from»

To celebrate the re-release of this critical text by one of avant - garde cinema's most influential figures, we will be screening a selection of rare 8 mm films from Brakhage ’s

According to The Art Newspaper, the donation includes work by Wolfgang Tillmans, Cerith Wyn Evans, and Lucy Mackenzie, as well as the complete canon of Canadian artist Jack Goldstein's 16 mm films from the 1970s and 1980s.

Rarely - seen 16 mm films from the 1970s will be screened in the Osher Lecture Hall, including Dufus (aka Art)(1970/73), The Last Supper (1970/73), Rocking Chair (1972), Pitchfork and the Devil (1979), and Down Hear (1972).

The 35 mm film From Source to Poem (2016), co-produced by Pirelli HangarBicocca and CAPC musée d'art contemporain de Bordeaux, France, with the participation of Tabakalera, Donostia, Spain, is shot in Culpeper, Virginia at the Packard Campus for Audio - Visual Conservation, part of the Library of Congress: more than 90 miles of shelves that hold a collection of over four million items, both moving - image (films, videos, television episodes) and audio recordings (music, spoken word, radio broadcasts) in obsolete formats as well as modern digital files.

The exhibition will also include a projection of a 16 mm film from 1968 shot in the midst of this scene that Clark only recently unearthed.

Thematically bookended by Form Phases 4, 1954, and a 16 - mm film from Breer's mature period, Fuji, 1974, the recent exhibition «Between Cinema and Fixed Imagery»

Not exact matches

He spoke fondly of traveling to Manhattan to rent a 16 mm version of the film from a distribution house.

I had a clunky Canon 35 mm camera loaded with black and white film that I took around the country and the world alike, and I had the time of my life shooting everything from European cathedrals to iconic East Coast skylines.

After an hour, remove pieces from the cling film and have your little one roll the dough pieces 5 mm thick.

Significantly, film usage is substantially less thanks to the sealing depth of the bags being reduced on the end seal from typically 10 mm to just 3 mm, and on the back seal from typically 13 mm to just 6 mm.

By the end of 2012, 35 mm film in movie theaters is expected to decline to 37 percent on a global scale, which is a dramatic decline from 68 percent of global cinema screens in 2010.

Criterion's DVD of Days of Heaven presents a luminous enhanced transfer of a film that elicited oohs and ahhs from audiences when first shown in 70 mm; we can imagine this title as a highly - desirable candidate for Hi - Def release.

Criterion's Blu - ray of Days of Heaven presents a luminous enhanced transfer of a film that elicited oohs and ahhs from audiences when first shown in 70 mm; it's a highly appropriate candidate for Hi - Def release.

This moody, elegiac film has universally been acclaimed as a cinematographic masterpiece, from the talents of Cuban - born European Nestor Almendros (and «additional photography» by Haskell Wexler), with naturally - lit, sweeping, 70 mm images of crystal clarity and scope, and artfully composed scenes reminiscent of Andrew Wyeth paintings.

The entire picture was filmed in expensive 70 mm, from enormous spaceship models to microphotography of lacquer smears mixing into water.

Presented windowboxed in 1.65 anamorphic widescreen *, the film looks exactly like it did in theatres, all but confirming that the transfer was sourced from the 35 mm blow - up (Vincent Gallo's viewing preference) rather than the Super16 negative.

Despite switching to 35 mm from the previous film's all - digital lensing, «Spectre» often looks the less refined, harder - textured work, in keeping with its protagonist's restless, on - the - fly work ethic.

The introduction of the NeXT computer, which took place in 1988 during Jobs's hiatus from Apple, uses 35 mm film and a full orchestra.

While viewing it at home may lack the impact of catching it on 70 mm film in the theater, not even the smallest screen could take away from Nolan's masterful filmmaking, ably assisted by a dynamic score from the legendary Hans Zimmer.

«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.

For what is in essence a catalogue title, Paramount graciously provides DD 5.1 audio (adapted, one presumes, from the six - track mix that adorned 70 mm prints of the film) that gives all six speakers a surprisingly muscular, multi-directional workout.

Criterion's BD release, sourced from the original camera negative, puts the lie to all of those earlier versions with its richly - textured shadows, searing whites, and twinkling 35 mm film grain.

Golden Exits; the latest film from Alex Ross Perry (Listen Up Phillip, Queen of Earth), is an unnerving American ensemble drama shot on 16 mm that boasts a star - studded cast led by Emily Browning, Chloë Sevigny and indie stalwart Jason Schwartzman.

Warner Archive's George Feltenstein explains, «We thought there was no extant 35 mm material and John Garfield's 16 mm print from NYU would be our only source to complete the film.

That meant we could not only present the film all from 35 mm, but from a 2ndgeneration nitrate made off the camera negative in 1941.

Rare Video really did this film a solid and gave it a very impressive new high - definition transfer which was taken from the original 35 mm negative.

THE DVD Innerspace is available on DVD from Warner Home Video in a presentation that contains a 1.78:1 anamorphic widescreen transfer of the film along with 5.1 Dolby Digital sound likely based off the six - track mix that accompanied 70 mm prints.

In every surface aspect, it's a textbook New York underground indie (though shot on 16 mm film rather than video), enamored with repellent details (Laura is introduced mid-crying jag, blasting a mucus strand from her nose and reflexively snorting it back in) and sporting just - get - it - done technical credits.

2K film restoration from original colour 35 mm negative.

TIFF programmed a whopping 289 films in its line - up, from Special Presentations and a few Cannes holdovers, to many exciting premieres, including Cloud Atlas and PTA's The Master in 70 mm.

Though «The Hateful Eight» is filled with the same self - indulgent tendencies that fans have come to expect from the director's movies, this Agatha Christie - styled whodunit is a lot of fun thanks to a smartly crafted script, some outstanding camerawork that benefits from the 65 mm film format, and riotous performances from the ensemble cast.

It was under the radar, but it is a wonderful little film from Finland from first time director on 16 mm black and white — and it won Un Certain Regard.»

His enlightening cinematic collage was culled from found 16 mm film of vintage interviews conducted by fellow Swedish journalists with everyone from Black Panthers Bobby Seale and Huey Newton to radical attorney William Kunstler.

When Anderson went on to make his next film, his ingenious Thomas Pynchon adaptation «Inherent Vice» (2014) he shot it in 35 mm but had a couple of 70 mm prints blown up from it that have only received a handful of public screenings to date.

Both films are remastered from new 2k scans of 35 mm prints struck directly from the camera negatives and the double feature (two discs on DVD, one on Blu - ray) includes new interviews with manga author Koike Kazuo and screenwriter Norio Osada.

Anatomy of a Killer Theme Song» new interview with the original members of the American punk band, The Dickies; «The Chiodos Walk Among Us: Adventures in Super 8 Filmmaking» new documentary highlighting the making of the Chiodo Brothers childhood films, from the giant monster epics made in their basement to their experiments in college; new HD transfers of the complete collection of the Chiodo Brothers 8 mm and Super 8 films, including «Land of Terror,» «Free Inside,» «Beast from the Egg», and more; «Tales of Tobacco» interview with star Grant Cramer; «Debbie's Big Night» interview with star Suzanne Snyder; «Bringing Life to These Things» tour of Chiodo Bros..

Extras: «Night of Anubis,» a never - before - presented work - print edit of the film; new program featuring filmmakers Frank Darabont, Guillermo del Toro, and Robert Rodriguez; never - before - seen 16 mm dailies reel; new piece featuring Russo about the commercial and industrial - film production company where key «Night of the Living Dead» filmmakers got their start; audio commentaries from 1994, featuring Romero, Russo, producer Karl Hardman, actor Judith O'Dea, and more; archival interviews with Romero and actors Duane Jones and Judith Ridley; new programs about the editing, the score, and directing ghouls; new interviews with Gary R. Streiner and Russel W. Streiner; trailer, radio spots, and TV spots; an essay by critic Stuart Klawans.

When I shot one of my first 16 mm short films as a student, the light meter that I checked out from school was broken.

Though «The Hateful Eight» is filled with the same self - indulgent tendencies that fans have come to expect from the director's movies, this Agatha Christie - styled whodunit is a lot of fun thanks to a smartly crafted script, some outstanding camerawork that benefits from the 65 mm film format, and riotous performances from the cast.

Both «She (1935)» and «H.G. Wells» Things to Come (1936)» have been restored to high definition from their original 35 mm film elements and for films that are nearly 80 years old they look quite impressive.

It was also good to see the IMAX film projector used again, for Interstellar, although it was disconcerting to see the aspect ratio change from 70 mm to anamorphic 35 mm, often within the same scene.

There's a scene midway through the film where the Browns gather around an old 16 mm projector in Mr Gruber's shop and Paddington, entranced by the warm glow emanating from it, steps forward and walks straight through the screen into a world far removed from the drab, drizzly place he has come to call home.

In the golden age of the late Sixties, no film commentary of any sort reached most of the households in most of these markets (although faculty members on the local campus knew who Kael was, and huddled over the glow from their 16 mm projectors like monks in the Dark Ages treasuring manuscripts from far lands).

Additionally, the Blu - ray includes four iconic GN» R music videos that have been newly sync'd to both remastered stereo audio and new 5.1 surround sound mixes, plus a brand - new video for «It's So Easy» that was shot in 1989 by the band but was never completely finished — until now in 4K HD from 16 mm film transfers.

«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).

Additionally, whereas the 2002 DVD presented the film in 1.78:1, Synapse have presented more information from 35 mm camera negative, so while the ratio is now 1.85:1, there's slightly more side information - an important issue for fans concerned the new transfer is slightly cropped.

Park Circus have announced that they are set to tour five classic films from auteur filmmaker Paul Thomas Anderson, all presented in 35 mm prints...

The fest also provides one of the few opportunities available in St. Louis to see films projected the old - school, time - honored way, with Jean Renoir's «Boudu Saved from Drowning» and Julien Duvivier's «Pépé le moko» screening from 35 mm prints.

There are a number of revelations, such as the fact they deliberately bounced from 16 mm to 35 mm film formats to emphasize contrast between Blair and the Queen and the confession that neither was in England during the week in question.

At the recent press day, Tarantino and his actors talked about the advantages of shooting in 70 mm, how a Tarantino set differs from other movie sets, how Leigh and Russell played off each other while chained at the hip for 4-1/2 months, why Russell remained in character after his character met his demise, the decision to stay close to the script, Tarantino and Jackson's take on race relations in America, why a period film affords a filmmaker the opportunity to comment on the present in ways a present day film does not, what their filmmaking adventure was like for the veteran actors who have been with Tarantino from the beginning, and why Tarantino doesn't mind dancing on the edge of political correctness.