Sentences with phrase «modern mediums of film»

Not exact matches

The discussion, led by Film Comment Digital Editor Violet Lucca, touches on modern audiences» emotional distance from older works, the enduring power of the film medium, and the particular experience of younger generations of cinephiles.

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.

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.

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.

In some circles it has come to be considered a modern classic, fitting comfortably alongside some of the most innovative and ground - breaking films in the history of the medium.

Video games can acknowledge their roots in film and, firmly grasping the lessons learned from that medium, move the idea of modern storytelling forward in ways that have never been imagined.

Tacita Dean, in the book accompanying her recent Turbine Hall installation at London's Tate Modern [1], essentially campaigns for the preservation of celluloid film by rallying film makers, writers and artists to speak out against the immediate threat of obliteration of her (and their) medium.

Contemporary Galleries, second floor The Donald B. and Catherine C. Marron Atrium, second floor The Yoshiko and Akio Morita Media Gallery, second floor In conjunction with the film exhibition Sigmar Polke: Films 1969 — 1995 The Museum of Modern Art presents the first comprehensive retrospective of Sigmar Polke (German, 1941 — 2010), encompassing Polke's work across all mediums, including painting, photography, film, drawing, prints, and sculpture.

And in the autumn, Tate Modern will stage the first exhibition to include all the mediums used by German artist Sigmar Polke — painting, drawing, photography, film, sculpture, notebooks and Xeroxes — and examine the impact on his work of his interests in global cultures and travels in Afghanistan, Australia, Brazil, Pakistan and Papua New Guinea.

György Kepes will demonstrate the artist's experimental approach to photography, a medium which he understood as an instrument of modern technology able to connect his painting, films, scientific experiments and environmental art projects.

The last biennial, which curators Elisabeth Sussman and Jay Sanders used as an opportunity to showcase the ways in which artists were embracing a hybridized approach to their mediums in order to invent new directions forward, was an enormous critical success — raising the stakes for this year's curators, the themselves - hybridized trio of former Tate Modern film curator Stuart Comer (now at MoMA), Art Institute of Chicago professor and artist Michelle Grabner, and ICA Philadelphia curator and WhiteWalls editor Anthony Elms.