Sentences with phrase «silent film image»

It preserves the full silent film image area (rather than a sound - era copy with reduced image area) and, though it has wear and some damage due to screenings over the decades, the image is quite strong.

Not exact matches

A sound film is a motion picture with synchronized sound, or sound technologically coupled to image, as opposed to a silent film.

The very image of the film's stars (out of costume, nonetheless) sent fans into frenzy: Will Smith, Viola Davis, Margot Robbie, Cara Delevigne, Jai Kourtney and more made a silent promise to bring the wicked world to light — and we can't see them failing.

Between Mimic 3: Sentinel («Mimic: Sentinel» on its title card and hereafter «Sentinel») and his remarkable feature debut, the mostly silent NYU student film Soft for Digging, Petty betrays a genuine gift for cinematic storytelling, stripping down dialogue to a skeletal structure and relying on the force of his images for the bulk of the exposition.

The Forbidden Room (Kino Lorber, Blu - ray, DVD, Netflix)-- Canadian iconoclast Guy Maddin has been making strange, surreal films that evoke the images and storytelling traditions of silent movies for decades.

She went on to cite a specific line: «the silent image of woman still tied to her place of bearer of meaning, not maker of meaning,» revealing that the line triggered a memory that she will use in her new film.

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

The director, Christophe Gans, uses graphics and special effects and computers and grainy, scratchy film stock and surrealistic images and makes «Silent Hill» look more like an experimental art film than a horror film — except for the horror, of course.

Excellent (4 stars) Unrated Running time: 1332 minutes Studio: Genius Products 8 - Disc DVD Extras: Commentaries from film historians and authors, interviews with former Little Rascals, film introductions, three «our Gang» silent shorts, three featurettes and a 12 - page photo booklet with trivia, images and collectible lobby cards.

Writer / director Bill Morrison has assembled a treasure trove of «lost» images — silent films, newsreels, and archives from the turn of the last century — that was buried deep in the permafrost of the Yukon.

That said, it is Nicholson, his fascinating character, and Payne's empathy toward him that ultimately rules over the entire film; a simple, silent, static shot of his face is one of the most beautiful, powerful, indelible images of the 2002 movie year.

As father struggles to find work to support his wife and children, and is forced to sell his wife's kimonos to pay the doctor when their young daughter falls ill (the sick child is a classic dramatic crisis in Ozu's silent films, invariably illustrated with the image of a bag of ice water suspended on the child's forehead with a string).

Even more effectively than in Frankenstein, Whale adapts the shadowy darkness of the silent German Expressionist classics to the early sound era, a time when most Hollywood directors had seemingly forgotten everything that had been learned about the creation of mood, atmosphere and meaning through image over the prior 20 years in the struggle to capture the novelty of actors actually talking (By 1932, this phase of film was thankfully on it's way out, thanks to Whale, Howard Hawks (Scarface) and Busby Berkeley).

Black & white pencil illustrations evoke the flickering images of the silent films to which the book pays homage.

The Venice Simplon - Orient - Express — the very name conjures up images of 19th - century splendour, of silent film stars and Agatha Christie.

Next up is the «Gateway of Realism,» two 6 - by -11-foot, high - resolution mountain landscape images featured in the same room as three vertical screens playing an original, silent video piece called «Harmonium Mountain I.» The short film is a festive, balletic, and at times meditative celebration of the same landscape, reproduced 65 times over in various colors and scattered like sentient confetti.

Image: Frame from Tacita Dean, Day for Night, 2009; 16 mm color film, silent, 10 min.; Collection SFMOMA, Accessions Committee Fund purchase; © Tacita Dean

The Kitchen describes this film installation as featuring «a series of silent vignettes» where «time is marked through oscillations between the still and the moving image».

Housed in an austere zinc - clad light - box, the 8 - minute silent film in The Sound of Silence exposes the social history around a single image of a young victim of the 1990s Sudanese famine, overlooked by a vulture.

Additional works on view will include Glorioso (from Nenuphar), a silent digital video featuring stereoscopic images of memorial wreaths, bouquets, and markers, the aforementioned Synapse (from Black Beethoven), and Mute, a silent video featuring three views of Bessie Smith captured from a film including a tightly - cropped image of the groundbreaking «Empress of the Blues» rolling her head as she sings a heartfelt song we can not hear.

From early works such as Dziga Vertov's silent documentary Man with a Movie Camera (1929) through to later practitioners including Chris Marker, Harun Farocki and Chantal Akerman, there exists in the form of the essay film a continuum of attempts to understand the self - consciousness of images, and their relationship to the world in which they are made.

However, this is not truly a silent film: carefully deployed sound effects — such as echoing footsteps or birds chirping — produce a distinctly synchronized relationship between sound and image that was unheard of prior to the advent of «the talkies.»

Hans Richter, Still from Filmstudie, 1926 35 mm film transferred to video (black and white, silent) March 19 — June 23, 2008 This exhibition considers the transformation of the art object from static image to light projection within two distinct artistic lineages: the unconventional optical techniques and social analyses of the 1920s Neue Optik, or «New Vision,» generation of artists, among them László Moholy - Nagy, Hans Richter, and Marcel Duchamp; and the situational aesthetics advanced by Gordon Matta - Clark, -LSB-...]