Sentences with phrase «silent cinema»

I now jump from 2009 all the way back to the last days of silent cinema for one of the very first vampire films ever made — and still one of the finest.

An insightful historical survey of the practice and aesthetics of visual abstraction from silent cinema to the present.

He's the biggest movie star working, the king of silent cinema.

He begins by exploring the director's early life and career in his native Hungary, revealing how Curtiz shaped the earliest days of silent cinema in Europe as he acted in, produced, and directed scores of films before immigrating to the United States in 1926.

For a moment you think it is, because for most of us there's a residual association of silent cinema with the comic — and that something that has been exploited with brilliant ambiguity by Otar Iosseliani, of whom The Tribe also rather reminded me.

Trained as an acrobat and used like an actor in silent cinema for his sheer physicality, Lavant is almost a decade older than he was in Lovers on the Bridge, but he still seems like a switchblade ready to spring open.

Except for a delightful coda during the closing credits, where Tavernier wonders whether the Lumière brothers «directed» the passersby in their first film, there's nothing about silent cinema.

Three years ago, The Artist was announced as part of Cannes» Un Certain Regard sidebar — an appropriate forum for a mildly enjoyable pastiche of silent cinema by way of Singin» In The Rain.

It's what silent cinema does at its best: delve into the depth of the moment, drawing out action to explore the dramatic textures and letting the actors reveal the emotions of the characters, to show the audience rather than explain in intertitles.

Part of Silent Film Week on Fandor, a weeklong spotlight on silent cinema in conjunction with the San Francisco Silent Film Festival (July 14 - 17), Kevin B. Lee shares with us his favorite silent films (part one and part two).

Faust an extremely stylish horror fantasy in the best tradition of German silent cinema, featuring brilliant photography, magnificent art direction, and magical special effects which still have the power to amaze.

The great Japanese actor Sessue Hayakawa was not only a star of American silent cinema, he was a producer who developed his own romantic and heroic starring roles.

It's an entirely different beast — there's no spanking in this one — but the love of experimentation still burns: there's an homage to silent cinema stitched into its fabric.

Maddin is known for exhuming silent cinema through his signature use of hyper - melodramatic plots, exaggerated performance styles, trademark inter-titles, mismatches between images and sounds, and his recreations of aged or worn film stock.

Yet minimal dialogue means that large sections of the film play like classic silent cinema, owing more of a debt to Abel Gance's Napoleon (1927) than to Guy Hamilton's The Battle of Britain (1969).

Maddin certainly isn't for all tastes, and those unaccustomed to watching and consuming silent cinema will most likely feel baffled.

An oneiric swirl of fever dreams, half - remembered childhood terrors, forgotten silent cinema, and tall tales, Guy Maddin and Evan Johnson's film can only be written about with metaphors and abstractions.

There were moments — the Soviet silent cinema, Brecht's epic theater, Surrealism perhaps, the Popular Front anti-fascism of Guernica and Citizen Kane, the promise of underground movies.

Apropos of his own films» fixation upon the natural world and their vaguely pantheistic bent, Malick likened silent cinema to a tree that was cut down prematurely, and described Ménilmontant as an indication of how the medium may have evolved had talkies come around ten years later.

I certainly have no issue watching black and white full frame movies, or undercranked silent cinema... I can not imagine a technology killing the old.

Hazanavicius directs with a fundamental understanding of how silent cinema works, drawing broad yet sensitive performances from his leads and keeping the plot simple, gags universal and intertitle dialogue to a minimum.

The «Singin» in the Rain» scene was wonderful, I really liked the Hollywood satire and the depiction of the troubled transition from silent cinema.

One of the most original and charming films of the year, it is an imaginative interpretation of the Snow White fairy tale that combines the visual power of silent cinema with the dramatic force of an orchestral score to create an entirely unique method of storytelling.

Pablo Berger's film immediately immerses you in the visual vocabulary of silent cinema by literally opening the curtain on the screen and introducing you to its dimensions (1:85 for those who appreciate aspect ratio).

The Leone sequence reminds us of what silent cinema was capable of: the pure poetry of images, without the influence of the spoken word.

George refuses to give up on silent cinema, even as most of the people around him give up on George.

Martin Scorsese's nostalgic family film fills every frame with gorgeous images of the golden age of silent cinema.

The George Eastman House film and photography museum will screen the silent film on Oct. 16 in Rochester, NY., following the restoration's world premiere on Oct. 9 at Le Giornate del Cinema Muto, an Italian film festival devoted entirely to silent cinema.

As a celebration of the physical expressiveness and visual storytelling of silent cinema, A Quiet Place speaks volumes without a word being uttered.

The best part of Redoubtable is its homage to Godard's style, in the way that Hazanavicius's earlier Artist (2011) is a tribute to silent cinema.

If Mary Pickford was the silent cinema's greatest personality, Lillian was its greatest actress.

Long before Harry Potter or Peter Jackson's Tolkien trilogy, silent cinema was a fount of fantasy

One of the landmarks of silent cinema, this adaptation of Gaston Leroux's novel was also the film that firmly cemented Lon Chaney's standing as a superstar as well as set the stage for Universal Pictures to continue producing definitive horror classics throughout the 1930s and 1940s.

Kluge has written of his own debt to the history of cinema, particularly the silent cinema of the 1920s, and has articulated his approach to history with this history in mind.

«The Artist,» set in 1927 Hollywood, is writer / director Michel Hazanavicius» visually resplendent ode to the vivacious beauty of silent cinema.

Fixing the machine leads Hugo to the innovative filmmaker of silent cinema, Georges Melies.

He's as much at home in the realm of silent cinema or autobiographical New Wave naturalism as in modern Hollywood and Hong Kong modes, and his special interest in women (see, for example, his muse Maggie Cheung in 1996's Irma Vep and 2004's Clean) in no way conflicts with his delirious delight in action and genre.

However, Maddin's films are not themselves examples of silent cinema, and are, rather, akin to how Peter Greenaway's films often become moving tapestries of visual innovations, telling stories with enhanced detail that lends the material a «handcrafted» sort of feel.

Set in WWI Russia by way of claustrophobic sets transformed into Maddin's dreamland imagery, this story of a one - legged soldier (Maddin regular Kyle McCulloch) caught in a romantic triangle between his lovesick landlady and a married nurse (Kathy Marykuca) who resembles his dead lover is less a parody of silent cinema than a loving crackpot tribute.

I still admire early horror masters like Lon Chaney, whose unmasking in the original «Phantom of the Opera» is one of the great moments in all of silent cinema, and I spent considerable time interviewing David F. Friedman, the genial impresario who produced two early films by splatter pioneer Herschell Gordon Lewis, the aptly named «Blood Feast» and «Two Thousand Maniacs!.»

Snow globes, dog - eared pop - up books, vintage advertising, silent cinema, Ealing comedies and the Spirit of ’45 all feed into the essence of the film, and King offers a dreamlike vision of London which mixes mid-century fervour with a modern embrace of cultural diversity.

Sunrise reminds us of the silent cinema dream worlds lost in the new realism and visual literalness of the sound revolution.

One of the truly iconic images in silent cinema, the stunt has echoed down the ages, most notably in Back to the Future.

2011 was a year in which the top two Oscar winners shared one major thing in common, they both paid tribute to the lost art of silent cinema.

Ever the exhilaratingly imaginative storyteller, Haynes tells his silent tale of silent cinema and beyond with refreshing cinematic ingenuity that not only suggests that his own childish sense of wonder is alive and well, but continues to offer inspiring evidence that there is plenty more area to be discovered in the cinematic language.

Kaneto Shindô's oeuvre is perhaps best known for outright horror tales like Onibaba and Kuroneko, but the complex textures of The Naked Island, a fascinating blend of documentary, silent cinema, and covert horror, cannily refute absolute categorization.

Set on the streets of Paris in 1910, «A Monster in Paris» borrows some of its tics from silent cinema, but it also reaches out to films such as «Frankenstein»,...