Sentences with phrase «past film cameras»

Good thing we've moved past film cameras and into the world of digital!

Not exact matches

There is footage in the film — of gunfights, of meth cooks, of night expeditions into the hills along the U.S. - Mexico border — that would not be possible with the cumbersome cameras and crews of the past, with Heineman essentially going on ride - alongs as heavily armed vigilantes go about their business.

The two time Oscar - winner has spent most of her time behind the camera for the past five years, following her last feature film starring role in Neill Blomkamp's 2013 sci - fi movie Elysium.

INDEPENDENT & FOREIGN FILMS I for India (Unrated) Sandhya Suri explores the issue of assimilation in this bittersweet memoir about her family's migration from India to England in 1965, well documented due to her father's having filmed them for the past 40 years with the help of a couple of Super 8 cameras and a tape recorder.

The film also proposes a dual gaze through the visual juxtaposition of action versus immobility, as when a long take films the protagonists stationary whilst indistinguishable bodies hurriedly move past the camera, creating flashes of movement.

An extensive selection of work from across the world is presented including the World Premieres of William English's HEATED GLOVES and THE HOST, in which director Miranda Pennell delves deeper into her past and her late parents» involvement with the Anglo Iranian Oil Company (BP); Ben Rivers» THE SKY TREMBLES AND THE EARTH IS AFRAID AND THE TWO EYES ARE NOT BROTHERS, the feature element of Ben's current Artangel installation at BBC White City; EVENT FOR A STAGE by Tacita Dean, a filmed presentation of her live theatrical happening in collaboration with actor Stephen Dillane at the 2014 Sydney Biennial; the European Premiere of Omer Fast's REMAINDER, a London - set thriller adapted from Tom McCarthy's acclaimed novel of the same name; the European Premiere of INVENTION which highlights the possibilities of camera movement and the development of artistic apparatus and Kevin Jerome Everson's PARK LANES, set in an American bowling alley over the course of a day.

«The range of British talent — both in front of and behind the camera — recognized by the film community over these past few months demonstrates the strength of the British creative industries.»

And until then, the film is so remarkable at synching its picturesque style to Moonee's seemingly limitless freedom that the one time they do fall out of sync feels jarring, almost offensive: In long shot, Moonee and her friends charge past a series of stores and toward the promise of ice cream, and even after the children have exited the frame, the camera lingers on the sight of an obese person on a scooter riding in the other direction, the sound of the scooter going over a speed bump nothing more than a punchline, an easy potshot, at the expense of a person who isn't even a bystander to Moonee's life.

Because there is such a complicated, polluted, labyrinthine past, both America's and this American's, and because none of it can be faced and corrected, this film does what is denied a whole nation: it pares down all troublesome memories, focuses the camera on Jack and occasionally on Clara and Jack, or Father Benedetto and Jack, or Mathide (Thekla Reuten) and Jack, and finds an untormented, easily digestible Hollywood «international underworld / intrigue» plot to house the whole.

The 84 - year - old actress is not a fan of fake romping for the camera, unlike fellow actress Dame Judi Dench who loves filming nude, because she had bad experiences of it in the past, including the time she had to pretend to make out with the late US actor George Peppard in «The Executioner», which got awkward because they both disliked one another.

As long as you can get past the out - of - place (and bad) French-esque music and massive plot hole of there being cameras everywhere in the facility except the room containing the merman, it's a pretty engaging and entertaining film.

And like that American singer, he finds a way of sneaking subversive content in past cultural gatekeepers: This is To's first movie made entirely under mainland China's auspices, and it is chaste, blunt and impersonal on the surface while his camera dances as deliriously as it did in personal films like «The Exiled.»

(T) ERROR and Cartel Land also suggested another theme that emerged from the films I saw at True / False: Technology has advanced to the point where one or two - person crews, armed with a small camera, can slip unobtrusively into tight spots that the cumbersome equipment of the past couldn't go.

Clooney is clearly a fan of screwball comedies (as witnessed in past films with the Coen brothers), and while a movie like this certainly doesn't need someone like him behind the camera, it's a project that he's passionate about.

Researchers also identified relationships between diversity behind and in front of the camera for 118 Festival films from the past four years and compared this data with that of the 500 top - grossing films released theatrically between 2007 — 2012.

As the two men make their way past shiny cars, onlookers, cameras and crew personnel proudly wearing blue coveralls stamped with «Chicago Auto Show,» one thing becomes clear: the Chicago Auto Show helps to set the tone for this feature length film.

In series Disappering into the past and Within the Landscape, Astrid Kruse Jensen has utilized an old polaroid camera and expired film to deliberately let go of the technical circumstances.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

«This exhibition teases out how the relationship between still camera and film camera has evolved in her work over the course of the past 20 years.»