Sentences with phrase «seen filming the movement»

Not exact matches

The Legion would expand its ratings to make them more responsive to the range of film content and viewership, but its effectiveness diminished in the 1960s (the era's various «liberation» movements saw to that), and it merged into the American bishops» office dealing with movies.

«And after seeing that film, ever more determined that our movement should help build a stronger, fairer Britain.

It's so wonderful to see this movement for female empowerment and equality move forward and spreading to all industries, from film to fashion.

Every movement of the camera, every shot of not seeing something terrible build the film to a level of terror that has rarely been seen.

Wilkerson sees his film, no less than his family, as caught up with these cultural artifacts in the continuing movement of history — a history in which you might decide to be a liberal (if you're content to congratulate yourself) or, as a better choice, a radical.

There's some very candid, fascinating footage here capturing the process of making the film (in, for a surprise revelation, not a real Parisian flat but a studio - built apartment replica surrounded by green screens, not at all dissimilar to David Cronenberg's use of similar magic for A Dangerous Method, not that you can tell in either film in its finished form, where the technology is seamless and unobtrusive), with Haneke working with the actors in a rigorous, nitty - gritty way that lets us see what infinitesimal precision he's looking for in performance, in movement, in blocking, and in composition.

His arrival with films like The Living End and The Doom Generation signalled a voice synonymous with the New Queer Cinema movement of the early 1990s that saw gay stories told by gay artists.

It's always exciting to see a nation not traditionally known for their cinematic output step up with a movement or wave of films and filmmakers that gain attention on the international scene.

However, this year has seen movement on a prequel series of films, a documentary about real life Quidditch players, and even a short story updating the...

Although we were hardly experts in the mumblecore movement *, what we'd seen of it had not been hugely inspiring, and Humpday single - handedly changed that: the film was so funny, endearing, and brilliantly - constructed, it single - handedly turned us around on the whole sub-genre.

This collection of production - diary - style footage finds Brian De Palma on the set of his 2002 film Femme Fatale directing the shoot, a process that — as seen in these specific clips — includes rehearsals with actors Rebecca Romijn and Antonio Banderas, working through movement / blocking and fight choreography, and the management of the movie's bravura opening setpiece that takes place at the 2001 Cannes Film Festival.

What You Need To Know: Probably one of the most talented directors to be part of that dreadful m - word American film movement (m * mbl * c * re), Andrew Bujalski has been sorely missed since we last saw him in 2009 with the fantastic and criminally underseen «Beeswax.»

Sunday night's Bafta film awards will see Britain's biggest stars joined by activists on the red carpet, while many attendees will wear black in solidarity with Time's Up — the movement launched following the sexual harassment scandal which engulfed Hollywood after an avalanche of allegations were made against film producer Harvey Weinstein.

The studio is also developing multiple female - led Batman adjacent projects with a Harley Quinn solo film and Gotham City Sirens, but those haven't seen much movement in recent months.

Reflecting on the film's release as the Me Too and Time's Up movements dominate debate in Hollywood and the wider world, she said: «It's a strange thing, the themes this film touch on, the themes that we wanted to focus on and discuss and let an audience discuss during the process of seeing the film have to do with class - ism and abuse towards women and if they are believed when they come forward.

I have never in recent memory seen movement translated so well to film... graceful and mysterious.

It's worth mentioning that while the middle section of the film is a tad uneven, it all comes together thrillingly in the final movement, which closes things off with a bang and, as with so many good horror films, makes you rethink what you've seen, and want to watch again.

From his sort - of neo-realist (but too quirky to really be neo-realist) films of the 1950s through his autobiographical opuses of the 1960s and his flamboyantly surreal 1970s films, he never made a film that wasn't undeniably Fellini, and yet it's easy to see his ties to nearly every cinematic movement that took place during his long career.

And it does with a camera movement About Tony Stark, he is the way he is, but if you see it just as a character who makes only one liners throw the film you are not seeing the incredible job that RDJ make with him.

Milk is, undoubtedly a must - see if you're looking for a lesson in the gay rights movement, but more importantly, it's a beautifully crafted film about a man we should know more about.

With its icy photography and handheld camerawork, Mungiu's film is shot in typical Romanian New Wave style, and certain scenes (the litany of sins, the police interrogation) may well lead Beyond the Hills to be seen as both a summation and an exemplary instance of the movement's aesthetic tendencies.

The film, from co-directors Byron Howard and Rich Moore, explores the kinds of social inequities — gender, racial and class bias — they saw unfolding during production in the national conversation as police killings of African American men sparked the Black Lives Matter movement.

It's almost Hitchcockian, with its regular movements involving the traditional set - up and building of tension, and it's wonderful to see such nervousness wrung out of such a sparse film.

Under the detailed eye of Iñárritu, the cast play their roles with a naturalism rarely seen in modern mainstream film; they're expressions, gestures, movements and reactions aren't hinged on creating drama — Iñárritu lets his actors just be.

See where Mrs. Doubtfire was filmed, the home of the hippie movement, the largest Chinatown outside of Asia, and more.

Kellee Santiago: I think there are some movements in publishers — but especially in independent... or VC -LSB-- funded studios]-- towards a more project - oriented funding structure like you see in film.

February 27 — March 5 I ♥ Neutrinos: You Can't See Them but They are Everywhere (70 mm Film Frames of Neutrino Movements — shot in 15 ft Bubble Chamber at Fermilab, Experiment 564 near Chicago — dunked in liquid nitrogen, neutrino movements events with invisible ink and decoder markers and highlighters, inked up by Monica Kogler and Jwest, film roll from Janet Conrad, MIT Professor of Physics) 2011, 37 seconds Roll of specialized film for scientific use of about 1,000 Images transferred to high - definition video on a hand - made telecine device, no sound Made while Jennifer West was an Artist in Residence at the MIT List Visual Arts Center, Cambridge, MA in 2011; Funded, in part, by the Nimoy Visual Artist Residencies program of the Nimoy FoMovements — shot in 15 ft Bubble Chamber at Fermilab, Experiment 564 near Chicago — dunked in liquid nitrogen, neutrino movements events with invisible ink and decoder markers and highlighters, inked up by Monica Kogler and Jwest, film roll from Janet Conrad, MIT Professor of Physics) 2011, 37 seconds Roll of specialized film for scientific use of about 1,000 Images transferred to high - definition video on a hand - made telecine device, no sound Made while Jennifer West was an Artist in Residence at the MIT List Visual Arts Center, Cambridge, MA in 2011; Funded, in part, by the Nimoy Visual Artist Residencies program of the Nimoy Fomovements events with invisible ink and decoder markers and highlighters, inked up by Monica Kogler and Jwest, film roll from Janet Conrad, MIT Professor of Physics) 2011, 37 seconds Roll of specialized film for scientific use of about 1,000 Images transferred to high - definition video on a hand - made telecine device, no sound Made while Jennifer West was an Artist in Residence at the MIT List Visual Arts Center, Cambridge, MA in 2011; Funded, in part, by the Nimoy Visual Artist Residencies program of the Nimoy Foundation.

As you keep traveling along the fifth floor into the Anti-Art movement, you see excerpts from a film about Marcel Duchamp, Silence, Sea and Marcel Duchamp, (1968 and 1994), paraphernalia from the Fluxus group, and an homage to Alan Kaprow, Nam June Paik and Happenings.

Commissioned for presentation in the lighthouse at Berwick — upon — Tweed, England, the film consists of the movement of time and light from day into night.4 Thus, Disappearance at Sea can be seen as a metaphorical precursor to Banewl.

The hole and another rectangular floor - to - ceiling slice in a second wall can't help but conjure thoughts of Gordon Matta - Clark's intersected buildings; the gentle but purposeful movements of the dancers are reminiscent of the contemporary dance of Siobhan Davies; the glitchy, clattering drum sounds that accompany the filmed sawing of the walls recall the beats of alt - electronica duo Autechre.

Later films like Form Phrases IV, 1954, sees the artist incorporating found imagery into this mix of animated video.Later films such as Fuji, 1974, saw Breer use a rotoscope device which enabled him trace live movement with each frame.

Yael Bartana's recent film Inferno is to be screened on 14 and 16 May alongside live performances of Bernstein's Symphony No. 3; Kevin Beasley's performance will study the physicality of sound and take place during the Dallas Museum of Art Friday Late Nights, on 15 May; and Monte Laster's social sculpture Destination, in Five Movements will see its world premiere.

Gehr's 1970 film Serene Velocity is frequently cited as one of the premier examples of Structural film, a movement characterized by a fascination with the material qualities of film itself and a foregrounding of the experience of seeing as mediated by the camera.

Despite the efforts of the above pioneers, along with those of inter-war artists Marcel Jean (1900 - 93), Joan Miro (1893 - 1983) and Andre Breton (1896 - 1966)- see their respective works Spectre of the Gardenia (1936, plaster head, painted cloth, zippers, film strip, Museum of Modern Art NYC); Object (1936, stuffed parrot, silk stocking remnant, cork ball, engraved map, Museum of Modern Art NYC); and Poem - Object (1941, Museum of Modern Art NYC)- junk art did not coalesce into a movement until the 1950s, when artists like Robert Rauschenberg (1925 - 2008) started to promote his «combines» (a combined form of painting and sculpture), such as Bed (1955, MoMA, New York) and First Landing Jump (1961, combine painting, cloth, metal, leather, electric fixture, cable, oil paint, board, Museum of Modern Art NYC).

While working under Ceausescu's regime, Bratescu focused on the studio as a space for self - preservation and the protection of identity: see her filmed performance Atelierul (The Studio, 1978), in which she defines the studio with gestures even as it circumscribes her movements.

Seen from the point of view of a security camera in the boat's café, the film begins with the subtle movement of small items and escalates to a full emergency.

I could see a similar film now about the Occupy Wall Street movement.

It's really heart warming to see so much support for the tiny house movement and the film.