Sentences with phrase «narrative cinema as»

Born in a region of Austria / Hungary that is now part of Poland, Wilder's story feels like an archetype of the émigré - to - Hollywood experience that shaped so much of the early studio system, and by extension, narrative cinema as we know it.

Not exact matches

Or perhaps more accurately: he left the cinema of the time — all perverted and gnarled by narrative convention as it was — and headed for uncharted territory.

That narrative slyness is especially welcome in Friedkin, acting as a palliative to the sensory overdose in which he habitually deals; such a contrast was nowhere to be seen in «Bug» (2006), a film that sent me straight from the cinema to the pharmacy in search of anti-itch cream, but we find it in the first half of «Killer Joe,» thanks to the title character.

As every story becomes interwoven with the next, the boundaries between fiction and real life starts to blend in this cerebral thriller pushes the limits of cinema narrative.

It's as if Carlos Saura were calling the bluff of spectacle - oriented narrative cinema that necessitates excusing its excesses with characters and plotting.

Perhaps it was this idea that led to the creation of Basterds as a revisionist narrative in which the Nazis meet the fate they deserve — and perhaps it is the image of Shoshanna winning her battle in the cinema that has kept the film's pre-autumn release fresh in every critic's mind as we approach the 2010 Academy Awards.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

But now, Rian Johnson takes over the helm of The Last Jedi, and what transpires is a far more mature piece of cinema, far more concerned with the narrative and the characters that inhabit it; and the film benefits greatly as a result.

Rarely registering as self - important or novel, Upstream Color functions as pure cinema, a gateway into a familiar but new kind of narrative that unfolds and functions primarily on its own terms.

Unlike The Silent Revolution, The Captain's narrative focus is not on the victims (who eventually become victors) of history but the perpetrators — a true rarity in the history of German cinema that is made even more remarkable by the fact that the film does not concern itself with the famous culprits (as does Oliver Hirschbiegel's Der Untergang [Downfall, 2004]-RRB- but, rather, with the «unknown» wrongdoers, that is, the «little guys» who, once afforded the opportunity, displayed the same murderous tendencies than their more famous leaders.

For Martin, situated as it still is in the world of narrative - based commercial genre cinema, Passion forces us to ask challenge questions underscoring much of his book's subsequent argument and proposals:

Program Description: Designed to support distinctive new voices in world cinema working in both fiction narrative and documentary, the Open Borders Fellowship includes a development grant as well as a trip to the Sundance Film Festival in Park City to receive the award and attend a curated slate of industry meetings, networking opportunities, panels, and screenings.

A more likely answer is that such evocations result from Malick's understanding of notions such as image and narrative in relation to cinema.

Although its overwhelming logic is hence from video games — «I've never made it this far,» Cage tells his followers at one point, when asked what comes next — Edge of Tomorrow works best as a gleeful riff on the narrative tricks endemic to the cinema, an art defined more by editing than by images.

This disjunction of sounds and images is of course a classic narrative devise of cinema (27) and functions as a kind of pedagogical entry into the visual regime of the film; it does interpolate the viewer and ask him or her to connect these tracks, not necessarily to make sense of them, but at least to organise a suspended logic of connectivity.

And yet, as presented through intimate looks at their home and academic lives, their journeys make for riveting entertainment that ultimately did more for many who watch film professionally than the finest forays in narrative cinema.

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.

Opening this week at Tivoli Cinemas, Loving Vincent is sometimes a bit flat with its narrative thru - line, yet more than makes up for this with its earnest and engaging approach to discovering what drove Vincent van Gogh as a man and an artist.

Coming from the approach that form creates content, we can open ourselves up to understanding that any plot or narrative can be executed effectively and interestingly in the medium of moving images we know as cinema.

«Zero Motivation» Israeli dark comedy «Zero Motivation» won the top Narrative Prize at Tribeca this year, and it felt like this was the rare prize winner that won almost unanimous support from attendees: the film attracted raves from pretty much everyone that saw it, and marks first - time filmmaker Talya Lavie as an exciting new comedic voice in cinema.

He'd done similar, equally compelling work prior to his breakthrough (2009's About Elly stands as arguably his strongest film), but with an increased eye on Middle Eastern cinema in the wake of Kiarostami's Certified Copy and the jailing of the more radical, uncompromising Jafar Panahi, coupled with the film's heart - tugging narrative, A Separation arrived at an opportune time for his country's rise to international cinematic prominence.

Film seems to have succeeded the written word as preferred narrative vehicle of our time; and though it is no small irony that writers have championed the cinema, they have articulated a unique insight into the medium.

It's a narrative set - up anyone with a passing interest in cinema will know, and if there's another thing other than the aesthetic developer Supermassive Games absolutely nailed, it's the simple implication of a cause and effect system known as the butterfly effect.

Regarded as a seminal figure in gay and lesbian cinema, and in particular, pre-Internet video - work, Benning's short films often feature autobiographical content in fragmented narratives that address feminism, gender identity, and youth and popular cultures.

These pages serve as a window into the construction of one of the most famous and exploratory ambient narratives in cinema.

In a series of immersive works, the elements by which cinema is traditionally known — projection, film, a screen, darkness, linear narrative — are dismantled and reassembled in new forms that are, in some cases, barely recognizable as having any relationship to cinema at all.

Through the adoption of a heroic character visualized in narrative fragments, Roy's imagery enters into a charming Sherman-esque masquerade of self - as - other still cinema.

The highlighted films were selected based on their contemplative views of the Syrian crisis and their engagement with the history of cinema as a means of subverting dominant narratives.

Each canvas is prepared with an undercoat of screen paint, the kind used by home movie enthusiasts, so that the support itself is literally a screen onto which the painting is materially «projected»; this material collapse of image, time, sound and narrative onto a fixed canvas - as - screen becomes a kind of «terminal projection» of the film, a «petrified cinema».

As scholar David Green has explained, «Claerbout's work subtly proposes a relationship of similitude between film and the objective world that lies outside and beyond the narrative space of cinema.

Fudong's narratives read like brief, melancholic confessions, an «abstract cinema» that, in his own words, functions as «a non-describable collision in one's heart.»

This traditional oral form inspired the region's cinema at its origins, as well as other modern narrative genres, and intersects in their work with archival footage assembled to represent contemporary history and engender new cultural forms of post-colonialisation.

His editing style was described as being «much more in common with musical composition than narrative cinema».

The layering of these multi-dimensional narrative structures, or what Jafa refers to as «polyventiality,» is the foundation of a re-working of what constitutes Black cinema, which is not necessarily determined by the cultural producer's heritage.

Her work is informed by histories of narrative cinema and experimental film, but more precisely concerned with digital video, and in particular its contemporary heterogeneity as a medium used for navigation, advertising, knowledge organisation as well as cinematic special effects.