Sentences with phrase «opening title screen»

Only six chapters separate the opening title screen to the end credits, each one going about an hour or so, meaning by the end of the game my trip to Victusia ended far sooner than I wanted.

The menu screens and opening title screen are disappointingly bland but it's a small niggle and detracts none from the experience.

2) Some new «Restoration Credits» appear at the end of the movie, seamlessly matching the opening title screens in appearance.

Not exact matches

Kino Lorber is heading to the big screen with Japanese film Sweet Bean, while the filmmaking team of neo-noir title Too Late will open its exclusively theatrical run via a self - release.

SXSW, still underway in Austin, TX, screened another title opening Friday during its edition last year.

That's the opening line of dialogue in Irréversible, meaning it comes after the closing titles, which scroll down the screen backwards and are followed by back - to - front names in block letters.

Unlike many of its awards competition titles that have opened recently in limited venues, I, Tonya is currently poised to play a more limited schedule, aside from the Arclight playing mostly single screens at its opening venues.

From the opening - credits sequence, in which each title appears in the empty space vacated by Pearce's head after a hulk named Rupert punches it off the screen, this cheaply made, disposable product of the Luc Besson factory glories in its hero's cheerfully antisocial persona — Pearce is the whole show here, and he's having a blast.

Other high - profile titles screening at the festival, which opens Friday, include «Ginger and Rosa,» filmmaker Sally Potter's coming - of - age drama with Elle Fanning; «Midnight's Children,» director Deepa Mehta's adaptation of the novel by Salman Rushdie, who wrote the screenplay; and «Frances Ha,» a black - and - white look at a young dancer directed by «The Squid...

The only information available is that the project is currently titled Cloverfield Movie (IMAX), meaning it will be opening on IMAX screens next Halloween weekend.

The Fox Searchlight title opens in a fairly busy weekend of Specialty newcomers, though it is the «widest release» among features making limited screen debuts.

Title: 360 Magnolia Pictures Reviewed for Shockya by Harvey Karten Grade: B Director: Fernando Meirelles Screenwriter: Peter Morgan Cast: Anthony Hopkins, Ben Foster, Dinara Drukarova, Gabriela Marcinkova, Jamel Debbouze, Johannes Krisch, Jude Law, Lucia Siposova Screened at: Review 2, NYC, 7/24/12 Opens: August 3, 2012

Breaking the Waves can make you queasy from its opening moments, when director Lars von Trier's name appears with the title superimposed over it, the title card swaying gently on screen as if it were photographed at sea.

To its credit, TIFF still finds room for both mainstream multiplex fare that will soon arrive in theaters (such as «The Martian,» Ridley Scott's latest foray into outer - space starring Matt Damon and opening Oct. 2) alongside smaller art - house titles that might never get a chance to reach theater screens without TIFF exposure.

But plenty of titles among the 289 or so features — 132 world premieres — that will screen through Sept. 20 are opening this year.

Each episode of Roadies opens in a new city, features a «Song of the Day» during setup (complete with the title and artist shown on screen), as well as a new infusion of backstage drama involving the ever - rotating opening band.

Deadpool 2 took in $ 11.5 m at 408 Imax screens in North America, and reps the second - biggest domestic opening ever for an R - rated and Fox title, with a big per screen average of $ 28K +.

Paul Glass» jagged, avant - garde soundtrack of atonal percussion perfectly compliments Preminger's mise - en - scène, as does an understated yet wildly brilliant opening title sequence courtesy of Saul Bass consisting of a greedy hand ripping pieces of black construction paper covering the screen to reveal names and credits.

by Bryant Frazer Breaking the Waves can make you queasy from its opening moments, when director Lars von Trier's name appears with the title superimposed over it, the title card swaying gently on screen as if it were photographed at sea.

The specification page on the Amazon website clearly states that adverts will only be visible while the device is asleep and while the reader is scrolling through the home screen for a title to read, not while a title is opened and being read.

The home screen comprises of the last few titles you have opened or have purchased from the Thalia bookstore.

The Kindle Fire makes it even more difficult to switch tasks, however, because it doesn't have a physical button for returning to the home screen, and its home screen doesn't have custom shortcuts; a quick link to your most recently read title; or a More menu for returning to recently opened documents.

Tapping the center of the screen displays a title bar that lets you browse your local and network libraries and the table of contents of the open document.

Connect your Kindle to your computer via USB, open its folder titled «Documents,» and find your screenshot of exactly how your Kindle screen appeared.

At the lower right of the screen (after you open up the styles), click Options which will open up a box titled «Style Pane Options,» then under «Select styles to show» select «All Styles.»

The controls are appropriately mapped to the Vita with the control scheme consisting of pressing X to attack an enemy Digimon; holding R then pressing X to escape; pressing select to let your Digimon act independently; pressing triangle to pause gameplay, while opening the Digivice to view the Digimon field guide, look through your inventory, save your progress and more besides; tapping the touch screen to display the DigiLine; changing the direction of the left analogue stick or alternatively pressing left, right, up or down on the d - pad to move Keisuke during on - foot exploration or navigating between menus whilst battling an enemy Digimon; and pressing start to display the title menu, alongside various scenarios and combinations in which certain buttons have different contexts.

To this day, the opening music on the title screen of Ocarina of Time sends chills down my spine, and Super Mario Bros. 3 takes me to a magical place in my childhood that I can't quite describe.

The next time you go to the title screen, a new feature will be open, the Extra Menu.

Pandemic Studios has declassified a fresh batch of screens from their open WWII title, The Saboteur.

Grinding up money is fun (assuming you don't outright cheat the game by opening a treasure chest in the town, returning to the title screen and going back to the now full - again chest, which I, ahem, most certainly would not do, cough), the different animals are a blast, and the variety of weapons is nifty.

The title screen menu allows the player to begin the game, start an alternative game mode, or open the options.

When the opening time comes, please go back to the Title Screen again in order to play Castle Defense.

The title brought together elements from all of Miyamoto's previous single screen platformers, only instead of all the action happening on a single screen the game scrolled, opening up an entire world for the Brothers to traverse.

The game opens with one of the most cartoon - y title screens you'll come across outside of things like Scribblenauts and leads us straight into the campaign with a sense of urgency you'll come to associate with Cannon Brawl.

Simply open one of the supported titles from our list and press Alt + F2 to prompt the Nvidia Ansel menu screen.

I knew this game was going to be more open and expansive than the previous title, allowing more player freedom, but even after attending a press screening of the game during Gamescom last year, I was still not ready for how expansive both the game world and its rich plot were going to be.

While the in - game text and spoken dialogue are both presented in Japanese, the gameplay footage showcases two of Gunvolt's main offensive abilities; not only is the title character equipped with a blaster, but Gunvolt is capable of releasing a charged, electrical psionic blast, used to dish out screen - clearing damage, power objects and open gates:

To celebrate the opening of new art gallery Whisper, they have generously given us a limited edition screen print titled Hypnic Jerk (edition of only 75) by Bruce French, who will be one of the artists included in Whisper's inaugural exhibition opening on Friday 10th June.

This free screening of individual short thesis films, titled «Senior Class Film Showcase,» is open to members of the public who have made reservations.

The self - titled exhibition, which opened in October of last year, was recently joined in mid-December by the collaborative 5 - screen video installation occupying the majority of the Transformer Station, in Question Bridge: Black Males, by Thomas, Chris Johnson, Bayete Ross Smith, and Kamal Sinclair.

Summary Title: «At the still point of the turning world...» Date: Saturday 21st February, 2015 Time: 15:30 - 21:00 (Doors open at 15:00) Venue: SHIBAURA HOUSE （ Level 5, 3 -15-4 Shibaura, Minato - ku, Tokyo ） [Access] Admission: Free (refreshments will be available for purchase) Capacity: 50 people No reservations needed Organisers: Arts Initiative Tokyo [AIT], Camden Arts Centre Supported by: Agency for Cultural Affairs Government of Japan in the fiscal 2014, British Council, SHIBAURA HOUSE Curator: Gina Buenfeld (Camden Arts Centre) Time table 15:00 Doors open 15:30 - 17:00 Introductory presentations and discussion - Intermission - 17:30 - 18:30 Act 01 Theme: Noh (screening)- Intermission - 18:45 - 20:00 Act 02 Theme: Butoh (screening, live performance) 20:00 - 21:00 Open Discussion Participating artists Live Performance: Mildred Rambaud Talk: Caroline Achaintre Jesse Wine Screening: 1: Theme / Noh (45 min) Hiraki Sawa Jeremy Millar Jefford Horrigan Ursula Mayer Manon de Boer Joachim Koester 2: Theme / Butoh (45 min) Mildred Rambaud Simon Martin Trisha Brown Babette Mangolte Fernanda Muñoz Newsome and Ina Dokmo Sriwhana Spong [Artist Profopen at 15:00) Venue: SHIBAURA HOUSE （ Level 5, 3 -15-4 Shibaura, Minato - ku, Tokyo ） [Access] Admission: Free (refreshments will be available for purchase) Capacity: 50 people No reservations needed Organisers: Arts Initiative Tokyo [AIT], Camden Arts Centre Supported by: Agency for Cultural Affairs Government of Japan in the fiscal 2014, British Council, SHIBAURA HOUSE Curator: Gina Buenfeld (Camden Arts Centre) Time table 15:00 Doors open 15:30 - 17:00 Introductory presentations and discussion - Intermission - 17:30 - 18:30 Act 01 Theme: Noh (screening)- Intermission - 18:45 - 20:00 Act 02 Theme: Butoh (screening, live performance) 20:00 - 21:00 Open Discussion Participating artists Live Performance: Mildred Rambaud Talk: Caroline Achaintre Jesse Wine Screening: 1: Theme / Noh (45 min) Hiraki Sawa Jeremy Millar Jefford Horrigan Ursula Mayer Manon de Boer Joachim Koester 2: Theme / Butoh (45 min) Mildred Rambaud Simon Martin Trisha Brown Babette Mangolte Fernanda Muñoz Newsome and Ina Dokmo Sriwhana Spong [Artist Profopen 15:30 - 17:00 Introductory presentations and discussion - Intermission - 17:30 - 18:30 Act 01 Theme: Noh (screening)- Intermission - 18:45 - 20:00 Act 02 Theme: Butoh (screening, live performance) 20:00 - 21:00 Open Discussion Participating artists Live Performance: Mildred Rambaud Talk: Caroline Achaintre Jesse Wine Screening: 1: Theme / Noh (45 min) Hiraki Sawa Jeremy Millar Jefford Horrigan Ursula Mayer Manon de Boer Joachim Koester 2: Theme / Butoh (45 min) Mildred Rambaud Simon Martin Trisha Brown Babette Mangolte Fernanda Muñoz Newsome and Ina Dokmo Sriwhana Spong [Artistscreening)- Intermission - 18:45 - 20:00 Act 02 Theme: Butoh (screening, live performance) 20:00 - 21:00 Open Discussion Participating artists Live Performance: Mildred Rambaud Talk: Caroline Achaintre Jesse Wine Screening: 1: Theme / Noh (45 min) Hiraki Sawa Jeremy Millar Jefford Horrigan Ursula Mayer Manon de Boer Joachim Koester 2: Theme / Butoh (45 min) Mildred Rambaud Simon Martin Trisha Brown Babette Mangolte Fernanda Muñoz Newsome and Ina Dokmo Sriwhana Spong [Artistscreening, live performance) 20:00 - 21:00 Open Discussion Participating artists Live Performance: Mildred Rambaud Talk: Caroline Achaintre Jesse Wine Screening: 1: Theme / Noh (45 min) Hiraki Sawa Jeremy Millar Jefford Horrigan Ursula Mayer Manon de Boer Joachim Koester 2: Theme / Butoh (45 min) Mildred Rambaud Simon Martin Trisha Brown Babette Mangolte Fernanda Muñoz Newsome and Ina Dokmo Sriwhana Spong [Artist ProfOpen Discussion Participating artists Live Performance: Mildred Rambaud Talk: Caroline Achaintre Jesse Wine Screening: 1: Theme / Noh (45 min) Hiraki Sawa Jeremy Millar Jefford Horrigan Ursula Mayer Manon de Boer Joachim Koester 2: Theme / Butoh (45 min) Mildred Rambaud Simon Martin Trisha Brown Babette Mangolte Fernanda Muñoz Newsome and Ina Dokmo Sriwhana Spong [ArtistScreening: 1: Theme / Noh (45 min) Hiraki Sawa Jeremy Millar Jefford Horrigan Ursula Mayer Manon de Boer Joachim Koester 2: Theme / Butoh (45 min) Mildred Rambaud Simon Martin Trisha Brown Babette Mangolte Fernanda Muñoz Newsome and Ina Dokmo Sriwhana Spong [Artist Profile]

2006 The Downtown Show, The New York Art Scene 1974 - 1984, New York University Grey Art Gallery, New York, US Onestar Shop by Hans Schabus, Art Metropole, Toronto, CA Public Space / Two Audiences, Works and Documents from the Herbert Collection, Museu d'Art Contemporani de Barcelona, ES Draft Deceit, Kunstnernes Hus, NO Location Shots, Galerie Erna Hecey, Brussels, BE Pierre Huyghe: Celebration Park, Musée d'Art Moderne de la Ville de Paris / ARC, FR Cerealart, Cerealart Lounge Pier 90, The Armory Show, New York, US Artists for Chinati, Phillips de Pury & Company, New York, US The Early Show: Video from 1969 - 1979, curated by Constance De Jong, The Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, US Onestar Press, The First Five Years, The Engholm Engelhorn Gallerie, Vienna, AT Message Personnel, Yvon Lambert, Paris, FR Not Quite Ten Years Without Martin Kippenberger, a project by Chris Hamond, Bar MOT for Kippenberger (MOT), London, UK That Was Then This Is Now, De Appel, Amsterdam, NL Czesław Miłosz / To Allen Ginsberg, Dvir Gallery, Tel - Aviv, IL Mental Image - Wortwerke und Textbilder, Kunstverein St. Gallen Kunstmuseum, CH Conceptual Comics, curated by AA Bronson, Max Schumann, Walter Phillips Gallery at the Banff Centre for the Arts, Banff Alberta, CA Libri Books Bücher, Museo D'Arte Contemporanea, Rivoli (Torino), IT The Shape of Sound, Radio Arte Mobile, Sound Art Museum, Rome, IT Wall Works - Sol LeWitt, C.A. Swintak, Lawrence Weiner, Art Gallery of Ontario, Toronto, Ontario, CA I: An Exhibition in Three Acts, Futura Gallery, Prague, CZ I Will Not Make Any More Boring Art, Lithographs, Publications and Ephemera from The Nova Scotia College of Art & Design, Printed Matter, Inc., New York, US On the Ball, Galerie Anselm Dreher, Berlin, DE Group Exhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Avignon, FR

The show's title, which absorbs in an instance the connotation of the clean, context-less green screen method of making video and image, turns it inside - out to feel open, mauve and messy as both a title and an understanding of green screens.

Once both of those have installed, open Minecraft, select the Liteloader with Forge profile, and wait for the title screen.

It's not fast, though, as it always shows a preview screen titled «Launching TV Mode,» regardless of what app you're opening with the button.