Sentences with phrase «of cinematic techniques»

The films use a variety of cinematic techniques: fast cuts, tracking and close - ups that slide over random objects the artist has collected or inherited, such as coins, golden bangles, glass vessels, stone heads, heavy dark chains, crystals and lipstick cases.

Mullick and Tariq use a wide range of cinematic techniques to convey the tenuous environment in which their subjects find themselves: the uneasy sense of oasis the runaways feel at one of the Edhi Foundation's clinics and those occasional moments where youths such as Omar lash out, puncturing the establishment's haven - like feeling.

But Slow West utilises a massive arsenal of cinematic techniques shunned by most commercial filmmakers, and shows that an arthouse film can hold both tension and big ideas at once.

a visual marvel of cinematic techniques, many of which were groundbreaking at the time in terms of what was acceptable for a sports documentary

Second tier Hitch perhaps, but no less enjoyable for it, and still a marvel of cinematic technique.

A feature - length commentary by writer John Rogers, director Les Mayfield, and editor Michael Tronick displays a good deal of self - knowledge and humour (a notably stupid scene is attacked by Tronick as being a «homoerotic bit of nonsense»)-- as well as a serious examination of cinematic technique, philosophy, and execution.

Not exact matches

It also featured the innovative rolling backgrounds first created by a St Petersburg Conservatory of Music producer, and which were the inspiration for Eisenstein's cinematic technique.

«Cinematic rendering, a new 3D reconstruction technique, provides a lifelike representation of imaging data and may have potential for enhancing diagnostic utility compared with volume rendering, particularly in terms of a more natural and physically accurate image with improved shape and depth perception,» Schoepf said.

The two documentaries share common cinematic techniques: like The Cove, the filmmakers of Racing Extinction employ guerilla - style shooting tactics to create suspense and raise the stakes.

It's a quasi-religious fable about a man haunted by the past and facing a profound moral and existential crisis in the present, and it's a dazzling display of virtuoso cinematic technique and showboat performances.

But in showcasing all the latest cinematic techniques, it strangles any element of surprise the film can offer.

Lieutenant is a sly act of provocation, a repudiation of American filmmaking technique and of near - universal attitudes about cinematic violence.

As I noted at the start of this review, Rope provides unusual cinematic techniques.

A number of scholars pay attention to how the films of this period in America (roughly the late 1930s to the middle of the 1950s, depending on who you ask) construct themes of paranoia, madness, secrecy, and disillusionment through their use of shadows, visual space, and innovative cinematic techniques.

by Walter Chaw The first thirty minutes of Francis Ford Coppola's retelling of the Dracula legend are dazzling and assured: a self - consciously cinematic, fulsome display of technique and loud emotions — expressionism writ large against lurid backdrops and red, backlit shadow plays.

Shore also displays some directorial style of his own signature, creating shots that are the epitome of the word «cinematic,» or attempting to use Matthew Vaughn - style techniques (like 1st person POV) to create distinct and different styles of action sequences (to varying degrees of success).

You're not there because of the new ground - breaking cinematic techniques being utilized; you're there because the effects that are used have been done excellently in keeping with the fantastic nature of the story.

Liman combines multiple cinematic techniques — most of which I'm usually not a big fan of: crazy camera angles, on - screen graphics, free - form editing and both text and voice - over narration — to get the documentary style look he was going after.

«A Cinematic Vision» (7:12) discusses the unorthodox filmmaking techniques used to convey Jean - Do's point of view, from cameras with latex faces attached to letting its leading man react naturally in a soundproof room.

«And it's amazing that Blumhouse, QC Entertainment and Universal have empowered Jordan [Peele] to tell his side of the story, to have a black protagonist... it doesn't mean you have to compromise cinematic technique.»

This combination of effects reminds me very much of Manoel de Oliveira, though the artifice is apparently indebted as much to Baroque theatrical technique as any cinematic fore - bearer.

Voiceover is a tricky technique, at its worst a bludgeon against the viewer's intelligence, but at its best (cf. the films of Terrence Malick, the documentaries of Werner Herzog, etc.) it can be as evocative and essential as any other cinematic element.

They contemplate early cinematic techniques of motion capture and ponder whether the puppets in their stop - motion animation drama Anomalisa might have been «faking it» on set.

Though Kolker tells us a little about some of the cast and crew, he mostly concentrates on story, themes, and cinematic techniques.

The surface of the movie is also glossy, with Cambridge's Gothic architecture, precious cinematic techniques, and Jones in authentic»70s bowtie blouses.

Malcolm X (Spike Lee, 1992) and Lumumba (Raoul Peck, 2000) are discussed from the important perspective of whether they represent racial - colonialist «appropriationist» or «assimilationist» narratives, and Bingham uses specific textual details (including cinematic techniques), extensive background production research, and his own logical argumentation to substantiate his opinions on these significant issues.

As an indie author, you may not feel entirely comfortable moving from the more cerebral world of words to the domain of cinematic stimuli, but the same techniques that work effectively in a book have an equivalent mode of shorthand expression in a video: empathy, surprise, mystery, atmosphere, danger, character, excitement.

A cinematic adventure, not one of the three games lasts longer than 12 hours, and they all feature Hollywood - inspired action sequences, traditional cinematographic framing techniques and even the standard overarching story arcs you'll find in any successful filmic trilogy.

Through new Unreal Engine technologies and techniques, famed and indie storytellers alike are creating cinematic content for all types of screens at a speed and quality level that has never been possible until now.

Meanwhile, and ad over at Forza developer Turn 10 (via CVG) sees the studio asking for a cinematics art director capable of «defining and driving the cinematics vision and techniques needed to achieve exceptionally high quality content for our Next Generation of games.»

Moderated by USA Today's Mike Snider, the panel was called «Developing Interactive Entertainment: The Performance Capture Techniques of the UNCHARTED Franchise and Today's Film Industry» and it gave Amy Hennig, Taylor Kurosaki, Josh Scherr, Nolan North, Emily Rose and Richard McGonagle the perfect setting to discuss everything that goes into creating the industry - leading cinematics in the Uncharted series.

Using Hollywood lighting and production techniques, he captures a decisive moment of ordinary domestic life and juxtaposes it with a hyper - glamorous expressionless model to create a surreal and cinematic narrative.

In his work, the noirish drama of Cubism and German Expressionism find their complement in techniques of cinematic suspense, with a femme fatale laying in bed, or a Joker - like figure overlooking a nocturnal Gotham, while modernist references play around them like a swelling visual soundtrack.

, discussing directions in which photographic collections could or should develop, Discussing Provoke, a cross-analysis of the cult Japanese photo magazine, its historical context and its ties to the emergence of performance art in Japan in the 1960s, Photography Beyond the Image, on techniques used to produce photographic works that seek to go beyond the production of an image; Photography & Cinema in Practice, discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists undertake.

Sleep (1999), a large photography and sound installation by Ugo Rondinone (b. 1963, Brunnen, Switzerland), uses the technique of the storyboard and couples it with an audio component, creating a cinematic narrative without employing a moving image.

Combining stop - motion animation drawn from collages of magazine illustrations and advertisementsn with filmed sequences and found footage, films such as Achoo Mr. Kerroochev (1960) and Breathdeath (1963) fused avant - garde cinematic techniques with social critique and Cold War politics.

Drawing on the use of elliptical conversations in the 1961 film Last Year at Marienbad by Alain Resnais as a point of departure, the exhibition features works of art that utilize various cinematic conventions, such as editing, character development, narrative, mise - en - scène and montage, to reveal how our understanding of reality is often mediated by those very cinematic techniques.

The work draws from narrative structures and cinematic techniques within different forms of fiction, in particular science and meta fiction.

A single - channel video installation, Dark Fiber employs the cinematic technique of montage to depict the potential activation of «alternative» or unauthorized forms of internet infrastructure.

APG presents Director's Cut, a group exhibition of photography that varies widely in technique and content, but share cinematic sensibilities.

Blending 19th century Italian Realism with contemporary photorealism and Renaissance art techniques, Matteo's cinematic perspectives and eerie light effects suggest the presence of previous inhabitants and their former lives.

Their productions reveal a strong sense of carefully constructed mise - en - scène that owes as much to natural - history - museum dioramas as to cinematic directorial techniques.

Based in Bali for more than two decades, the Italian artist Filippo Sciascia is widely known for Lux Lumina, an ongoing series of almost black and white figurative paintings, based on photographic and cinematic sources; their impasto surfaces heavily worked by the painter, who runs a dazzling gamut of painterly techniques, to the point the painting's skin cracks and tears so skillfully by intuitive calculation that its disintegration seems to be instigated from the inside out.

The works are cinematic in scale and their Noir aesthetic, and are created with a mix of digital and analogue techniques.

Blending performance art, pop - up storybook design techniques, and a cinematic score, the Center - supported work features a series of bold visual installations and an evolving, circus - style environment created in collaboration with installation artist Steven Dufala.

Set in southern Greece and an abandoned Athens airport, the film deftly fuses the country's past and present histories by way of Kubrick's and Angelopoulos's signature techniques, cinematic tactics to warp or distort how the viewer experiences the passing of time.

Buchanan's background in the history and techniques of painting and drawing is a strong influence on her visual form, making her video pieces less cinematic and more spatially related to painting.

Enchanted and eerie describe Julie Heffernan's paintings, which use an array of styles and techniques from the grand tradition of European painting to achieve a dramatic, almost cinematic effect.

While the photogravures of Mazátlan insist on a more gestural relation to the image, abstracting it from its origin, the Looking for Langston photographs are presented both in their original form as silver gelatin works printed on Ilford paper and as large scale works where Julien has used both digital and analogue techniques to create an immersive, cinematic experience.

At times, the compositions of her paintings are informed by cinematic techniques, whether the multiple headshots of Sitting on a Bench with Border (Film Notes) 2008, based on Pedro Almodóvar's 2006 film Volver, or Wylie's two paintings from the 2005 film Syriana, which take in a panoramic and close - up shot of the same scene.