Sentences with phrase «phantasmagorias with»

Not exact matches

Anyone familiar with the Eastern Christian world knows that the Orthodox view of the Catholic Church is often a curious mélange of fact, fantasy, cultural prejudice, sublime theological misunderstanding, resentment, reasonable disagreement, and unreasonable dread: it sees a misty phantasmagoria of crusades, predestination, «modalism,» a God of wrath, flagellants, Grand Inquisitors, and those blasted Borgias.

And, even on the brink of damnation, amid a roiling phantasmagoria — ghosts of his victims, devils, the living statue, hell's fire — he expresses neither fear nor remorse but goes to his perdition proudly affirming his unshakable loyalty to himself, with a courage so insane it almost deprives hell of any significance.

Indeed, he creates a virtual phantasmagoria of suffering from actual instances of human barbarity that he has read about in Russian newspapers: Turkish soldiers cutting babies from their mother's wombs and throwing them in the air in order to impale them on their bayonets; enlightened parents stuffing their five - year - old daughter's mouth with excrement and locking her in a freezing privy all night for having wet the bed, while they themselves sleep soundly; Genevan Christians teaching a naive peasant to bless the good God even as the poor dolt is beheaded for thefts and murders that his ostensibly Christian society caused him to commit; a Russian general, offended at an eight - year - old boy for accidentally hurting the paw of the officer's dog, inciting his wolfhounds to tear the child to pieces; a lady and gentleman flogging their eight - year - old daughter with a birch - rod until she collapses while crying for mercy, «Papa, papa, dear papa.»

For De Palma, Obsession, Dressed to Kill, and Body Double are less the oft - accused rip - offs of previous Alfred Hitchcock films than rigorous reckonings with a burgeoning postmodern dilemma; not merely the «anxiety of influence,» to quote literary scholar Harold Bloom, but something more akin to outright agony, where questions of artistic lineage from the outside spool the proceedings within into a nightmarish phantasmagoria, the implications of which are still to be unraveled.

Ferrer's conjuring of romantic Indochine is a journey that lures, stirring up ghosts in a wild phantasmagoria, reckoning with forces both entwined and eternal.»

So long after games like Phantasmagoria and Night Trap wowed us with the fact that we were playing actual humans.

Barlow says more indie games should use video, as independent developers have the freedom from lots of the constraints he thinks doomed the full - motion video (FMV) game genre on computers in the 1990s — games like Phantasmagoria and Night Trap starred real actors, but struggled for viability because of their relatively high budgets and a mixed reception to the kind of play experiences that game with them.

Launched with a lot of surrounding hype, Phantasmagoria proved to be a best - seller.

In Phantasmagoria, the two artists develop this accidental aesthetic of the night club photography, replacing it with conscious decision - making and the stylistic precision identifiable in high - concept fashion editorial.

In a film studies class, my professor Tom Gunning was talking about the pre-cinematic «phantasmagoria,» a form of spook show with distant voices and magic - lantern slides projected onto moving surfaces.

The 12 artists in Phantasmagoria: Specters of Absence — Christian Boltanski, Jim Campbell, Michel Delacroix, Laurent Grasso, Jeppe Hein, William Kentridge, Rafael Lozano - Hemmer, Teresa Margolles, Oscar Muñoz, Julie Nord, Rosângela Rennó and Regina Silveira — draw on forms of representation associated with phantasmagoria and reframe them around contemporary notions of absence and loss, using spectral effects and immaterial media such as shadows, fog, miPhantasmagoria: Specters of Absence — Christian Boltanski, Jim Campbell, Michel Delacroix, Laurent Grasso, Jeppe Hein, William Kentridge, Rafael Lozano - Hemmer, Teresa Margolles, Oscar Muñoz, Julie Nord, Rosângela Rennó and Regina Silveira — draw on forms of representation associated with phantasmagoria and reframe them around contemporary notions of absence and loss, using spectral effects and immaterial media such as shadows, fog, miphantasmagoria and reframe them around contemporary notions of absence and loss, using spectral effects and immaterial media such as shadows, fog, mist and breath.

In approaching The Arcades Project (Harvard University Press) for the first time in earnest I explored Benjamin's use of «phantasmagoria,» traced it back through letters with Adorno, to Marx, to the 17th - century illusionistic «theatre of phantasmagoria,» and developed an essay about illusions created on social media for a journal tasked with addressing the rise of authoritarian populism around the globe.

Ranging from the festive to the ironic, they show a fascination with perceptual ambiguities and the macabre, often with visual trickery inspired by the 18th — and 19th - century stage spectacle known as the «phantasmagoria.»

Headlined «How the New Museum Committed Suicide with Banality,» the dense, scabrous cartoon phantasmagoria features floating heads of the various players, from a leering Joannou and a grinning Koons, to dealer Gavin Brown (pictured saying «OK, I admit that the New Museum does look a little bit like my bitch, but it is all based on merit»), as well as bloggers like James Wagner and Green, and a saintly caricature of New Museum founder Marcia Tucker.

In line with this theme, this year we have the The Breeder showing works by Gina Beavers, Slater Bradley, Angelo Plessas and Theo Triantafyllidis that explore «post-Internet» reality and its limits, and Taro Nasu's (Tokyo) The Age of New Phantasmagoria, exploring perception in the age of virtual and augmented realities, with Koichi Enomoto, Djordje Ozbolt and Simon Fujiwara.

Mr. Wolfson teamed up with powerhouse gallerist David Zwirner to mount one of the most - talked - about exhibitions of 2014: A multimedia phantasmagoria that included an animatronic stripper (which now belongs to mega-collector Eli Broad), a bizarre cartoon / live footage mash - up projection and a suite of appropriated and collaged inkjet prints.