Not exact matches
As you're reading this, we're on our way to Boston to
film two
projects and to shoot a photo story for The
Frame.
In almost every
frame, the
film announces its
project of portraying a family pushed to the brink of collapse — and, more specifically, a father who's taken on the impossible task of protecting his children from the unknown.
A couple enacts a break - up scenario over and over, a documentary crew
films a crew
filming the crew, locals wander casually into the
frame: the
project defies easy description.
In an early scene from Alfred Hitchcock's Rear Window, the panning camera reveals a
framed photograph of a young, smiling blond woman — except, the image is on negative
film, which serves as a presumable correlation for disabled protagonist Jeff's (Jimmy Stewart) outlook on women, which is tested in his gaze and
projected desire from a lofty apartment window throughout the
film.
Live action footage will be
filmed and then
projected,
frame by
frame, onto canvas and painted over in oils in the style of Van Gogh.
And while I'm agnostic regarding Jackson's innovation of
projecting the
film at twice the usual
frame rate, the New Zealand landscapes to which we became accustomed in the Rings trilogy are as magnificent as ever.
With The Florida
Project, the eye for
framing that Baker hinted at comes centre stage through 35 mm
film.
Berger's
film spins off all sorts of jokey asides (Charlie's crime scene training video, a music video from a side
project rock band one of the cops fronts), as well as a trial session
framing device that features Sherilyn Fenn as a prosecutor and John Landis as the judge, and sometimes these bits don't connect.
The
film's
framing device involves Shields» attempt to launch a new
project with three estranged players from his early career: director Fred Amiel (Barry Sullivan), actress Georgia Lorrison (Lana Turner), and screenwriter James Lee Bartlow (Dick Powell).
Notoriously made with new cameras designed to capture more
frames per second than any before, Lee's latest
film probably looked really interesting in the two theaters that could
project it the right way.
Comics may be an entirely different medium but the
projects original inception as a
film can be felt throughout the pages as Pablo Peppino brings a strong cinematic style to the art,
framing scenes beatifully to give the reader as much information as possible while building the world as a real place.
Dean's
film work is characterised by long, meticulously
framed takes in which the camera remains in a fixed position, the elements of the
projected or screened image arranged in harmonious composition.
Since this
project is predominately created without the use of a camera, the resulting images from the assorted elements cover several inches of the
film, neglecting the conventional
frame lines produced by camera shutters.
According to Axel Peemoeller, who worked with Greek designer Dimitris Papazoglou on the
project, the identity draws on «key characteristics related to cinema: the projection screen, the repetition of
film frames, the sense of movement and time, and cinema theatre seating.»
Through
films, VideoSculptures, conceptual
projects and installations, Van Der Auwera unravels the simulation and
framing of messages, exploring conceptual and formal filters in the production and dissemination of images.
Conrad's previous work, «The Flicker,» was a very careful consideration or orchestration of black and white
frames, first on paper, then transferred to a strip of
film, which was then
projected.
Mixing artifact with mythology, and history with invention, the
project's wide - ranging material includes a 45 - minute
film and still photographs from the forests of Oregon, to St. Petersburg and the White Sea in Russia; sculptures; topological maps; and site - specific
framed works.
It presented
film as the verbal and visual representation of sequential movement (storyboards drawn on blackboards); as sound (dubbing sheets and the work Foley Artist); as
projected images and as stories (in the
films); and as investigations and working processes (
framed materials and documents).
‖ Photographed at The Factory (Warhol's studio in New York City from 1962 to 1968) on 16 mm black - and - white
film stock at the standard sound speed of 24
frames per second (fps), the portraits were intended to be
projected at 16 fps, the speed of earlier silent
films.