Sentences with phrase «of narrative cinema»

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.

[18] In collaboration with composer Jonathan Bepler, Barney combines traditional modes of narrative cinema with filmed elements of performance, sculpture, and opera, reconstructing Mailer's hypersexual story of Egyptian gods and the seven stages of reincarnation, alongside the rise and fall of the American car industry.

Buñuel's film is a comedy about the insanities of modern life, paralleling the themes of Cytter's works in which she conveys the perils and triumphs of contemporary life through alterations in conventions of narrative cinema.

It's an epic five hour and 50 minute (two intermissions) hybrid fusion of narrative cinema, documentary, sculpture, live - performance and opera.

Bujalski takes a sledgehammer to the carefully ordered surfaces and dramatic conventions of narrative cinema, favoring instead an unpredictability in which the crosscurrents of quotidian life collide on the screen in a series of brilliantly alive patterns.

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.

While Rockstar San Diego may find some difficulty in filling its open expanses with interesting and emergent play, it does imbue it with a stark beauty and compelling narrative that makes Redemption more than just an allusion to cinema, but a piece of work that can confidently stand next to it.

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.

However, Lee Marshall of Screen Daily writes, «If narrative cinema is all about the harnessing of character and atmosphere in the service of a strong story, then Matteo Garrone's follow - up to his 2015 Tale of Tales succeeds on every level.»

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.

Haneke brings his usual, acutely and ruthlessly observational way of telling a story (in both the narrative and stylistic senses) to bear on that of the trials endured by the strong, abiding, true love between a long - married couple of cultured seniors (French - cinema royalty Jean - Louis Trintignant and Emanuelle Riva) in the wake of the wife's illness, debilitation, and irretrievable, erosive slide toward death.

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

Next up is the Narrative Feature Competition, a juried competition featuring the best of international cinema.

It was a flop at the time, too dark and weird and unhinged for mainstream cinema, and like many Gilliam films it's entrancing on a moment - to - moment level, losing itself in the swirls and eddies of the narrative.

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.

These films contain aesthetic, narrative and / or thematic parallels that can erase decades of separation and show how ideas and styles echo across cinema history.

It's a loose adaptation of British novelist Sarah Waters» Fingersmith; it's a milestone of LGBT cinema in conservative South Korea; it's an unapologetically kinky slice of erotica Tinto Brass at his most florid would be proud of; it's a Byzantinely structured tale of con and counter-con that makes real demands of its audience to keep up; it's a stirring narrative of women escaping from bastard men; it's a vividly sketched chamber piece; and — most importantly — it's a damn good yarn.

On the one hand, [modular narrative films] hark back to much earlier innovations of modernist literature and cinema.

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.

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

Working with co-director Evan Johnson, the enfant terrible of Canadian cinema has fashioned something like a series of cavernous, roiling story chambers in which viewers can safely enjoy an onslaught of deranged narrative excess without enduring any actual bodily harm.

She may be the last relatively untapped figure in British heritage cinema's well - worn library of queenly narratives, but she has once more been passed over for the privilege of fronting the latest middlebrow, true - life royal drama, fast becoming an annual fixture on the UK film calendar.

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.

Under the sheen of narrative games and puns and references both literary and cinematic, at the center of it all, is a dog, Roxy Miéville, wandering the countryside, beside a lake, through a woods, a natural world utterly transformed by the phantasmagoric possibilities of digital cinema.

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.

In place of ascribing preferred definitional clarity, Martin immediately proceeds to offer a rich sketch of the generative importance of mise en scène for film criticism and scholarship in providing a kind of justification for the taking - seriously of cinema that specifically addresses film style — and through this, often, authorship — before and beyond the more «literary» concerns of narrative and character.

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:

Aaron Gerow lays out a history of film criticism in Japan to the present day, underscoring a narrative about cinema negotiated by professionals who gradually lose the ability to make a substantial impact on either audiences or the industry.

The ongoing renaissance in South Korean cinema is too stylistically diverse to constitute a movement, but its major filmmakers — Park Chanwook (Oldboy), Lee Chang - dong (Secret Sunshine), Kim Ki - duk (3 - Iron), Hong Sang - soo (Woman Is the Future of Man)-- share a taste for complex narratives that challenge social taboos.

The narrative structure will appeal to cinema lovers of all levels; this is the kind of film you wish you could watch the for the first time over and over again.

He works outside of the usual representational approaches that underpin classical narrative cinema and transcends artistic boundaries.

With its gorgeous widescreen compositions and sophisticated look at American male obsession, this stripped - down narrative from maverick director Monte Hellman is one of the artistic high points of 1970s cinema, and possibly the greatest road movie ever made.

Tagged With: (short story «Eisenheim the Illusionist»), assassination buffs, book to screen, cinema, Czech language, director, Edward Norton, film, misdirection, narrative, Neil Burger, Paul Giamatti, practical effects, Ricky Jay, romance, screenwriter, sleight - of - hand, stage magic

However, the theme of family is explored in great detail, with the widely - explored «sins of the father» cinema trope forming a major part of the film's narrative.

I've come to the conclusion that we're in a new era of cinema, and of pretty much every popular narrative form in general.

While Tokyo Godfathers is undoubtedly slight, it has a firm mooring in the traditions of cinema and an understanding, most importantly, of where it belongs in the flow of the celluloid narrative.

Whilst the characters on screen navigate the class dynamics of colonial life; choosing to adopt certain characteristics of their European colonisers in order to advance professionally and socially; the film itself reflects a growing trend in mainstream cinema of dealing with African themes using traditional Western narrative structures.

World Narratives Presented by 6ABC: Explore the world through film with this diverse selection of international cinema that features distinct perspectives and images from around the globe.

Auteurist critics who mined these strata have rejected Zinnemann because his is a literal - minded cinema of the spectator, where the images and narrative are displayed with craft and artistry, but which do not ask the viewer to participate in completing the equation of form and content.

This European predigestion of our narrative, documentary, experimental, and hybrid avant - gardes gives U.S. arthouse cinema permission to be more radical than it is — to maintain fluid and more inclusive boundaries.

One of the more interesting developments in the cinema of the past 15 years or so has been the surge of mainstream films with complex narratives...

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.

That wicked waltz becomes quite literal in one memorable scene that is emblematic of Akhtar's savvy, narrative - focused use of Indian popular cinema tropes.

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

The larger scope of the sequel allows for Evans to flesh out the narrative, but too many chatty gangsters almost cripple the momentum between incredible action sequences that certify Evans» ascension to a supreme action cinema maestro.

At the Glasgow Film Festival, I talked to McArdle about making the leap from music video directing to narrative feature filmmaking, creating the aesthetic of dreams vs. reality, the influence of horror cinema on her film, and depicting female friendship on screen.

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.