Sentences with phrase «narrative cinema also»

Not exact matches

Allan Cameron's Modular Narratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftenNarratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftennarratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they often resemble.

SF: It would've also said that narrative cinema can take all kinds of forms.

With a clear sense of story and purpose, the film not only serves as a shot in the arm for independent narrative cinema, but also as a rallying cry for those determined not to see the US go to the dogs.

If, as she continues, «texts or figures that refuse to be redeemed disrupt not only the progress narrative of queer history but also our sense of queer identity in the present,» then there would seem to be nothing more of a drag to the savvy contemporary moviegoer than politically démodé gay cinema.

Also worth a look is Noah Gittel's recent essay on Lowery and the «cinema of narrative displacement.»

Because its imagery — which also calls to mind Michael Mann's The Last of the Mohicans, the cinema's every modern representation of revolution (the few decent scenes in Roland Emmerich's stupid The Patriot, for instance), and even the militarism of choreographer Busby Berkeley — is far more virile than its screenplay, Drumline's seductive aesthetic is without strong narrative pillars, if a rather welcome imposition: the film's saving grace is the brilliant execution of its march numbers.

Also, I don't have the type of narrative to make a film, people often say why don't you make film because your paintings are so related to the cinema.

With selections from the agency's Magnum Eye (1991 — 93) and Magnum in Motion (2004 — today) initiatives, the series also investigates the technological and artistic transition from narrative cinema to video, and finally, to contemporary creators operating in a hybrid and online media field.