Sentences with phrase «structure of the film makes»

Not exact matches

In a neat piece of narrative structuring on Tanovic's part, this David - and - Goliath story is told partially through the eyes of a film crew making a documentary on Ayan's astonishing findings.

«The next step will be investigation of the spin - phonon interaction in nanoscale thin films and structures made of this important antiferromagnetic material.»

First - principles calculations determined that the electron barrier, established at the interface of the PEI / hexagonal boron - nitride structure and the metal electrodes applied to the structure to deliver, current is significantly higher than typical metal electrode - dielectric polymer contacts, making it more difficult for charges from the electrode to be injected into the film.

A Sketch of the atomic structure of Darrell Schlom's novel ferroelectric material as stored in a film made of the same substance.

Sharp pairs amorphous silicon (fine layers of randomly arranged silicon) with layers of crystalline silicon (whose atoms are in a more structured lattice) to make its thin - film cells.

«Further development in the setups is required to be able to write skyrmionic structures on extended films, where we can't make any profit of geometric confinements like in the nanodisks,» Schäffer said.

A one - of - a-kind film that really makes other movies» depictions of sex seem very shallow, this one doesn't have the best acting, or writing, but it's interestingly structured and makes it point very well.

The film is by no means terribly long, at least when you compare it to its 1969 musical counterpart, so it's not like storytelling drags its feet for ages, but make no mistake, the fact of the matter is that plotting's structure is something of a mess that meanders along repetitiously and, well, is to be expected, because, really, where does this story have to go?

People complain about Marvel's servicing of its connected universe, but the Justice League set - up in this film makes Iron Man 2 look like a strongly structured work of a single vision.

Goodman's film, while stressing Timothy McVeigh's virtually one - man show in accumulating the needed materials for a bomb which he detonated on the Alfred P. Murrah Federal Building, spends almost half of its ninety - eight minutes giving the backdrop — not way back to third - party structures like the anti-Catholic Know Nothing movement of 1855 but stretching to the mischief - making of two of McVeigh's forefathers.

Even today, there is something remarkable about a well - structured western, something of an escapist film poised to make us reimagine and relate.

The end result is a head - spinner to be sure — not only does it not make any sense in the traditional definition of the word, it doesn't even attempt to do so — and those who demand that their films offer up some kind of conventional narrative structure will no doubt throw up their hands and leave early on in the proceedings.

To make his argument, Bordwell must, of course, ignore those aspects of the films he studies that do not fit the classical narrative structure, like the non-classical nature of a character such as Memento's Leonard Shelby (Guy Pearce).

Drawing liberally from an onstage interview at the Austin Film Society, clips from the two directors» films, and visits to Linklater's editing room (where Boyhood is up on the console), Klinger creates a conversational structure for the film, making Benning's visit with Linklater the throughline of the film.

In terms of narrative structure Argo is essentially a standard genre film that also happens to be extremely well made.

The nested story structure and changing aspect ratios are a delightful touch, giving Grand Budapest Hotel a sense of time passed, and making the love and loss in the film all the more resonant.

The title comes from drawings Andrew and Eden make of random objects, which echoes the film's structure.

The film's time structure is splintered into shards of past and present, which is probably just as well — a strictly narrative chronology would make this wallow seem even sloggier.

Spun in the rolling yarn of a book the nuance might make for an entertaining read, but in a film it lacks the narrative structure and shape, not to mention the lack of interesting characters, that makes for a truly compelling viewing.

It may follow the same exact structure as many of the other films, but it's a structure that works, and Ridley Scott has made sure to include this in his most recent visitation to the franchise he helped create.

The flashback structure gives extra shape not only to his character, but also to the fim's structure — it preserves a kind of symmetry in the narrative that would be unbalanced if the stuff at Monaco were appended as a coda, though it also defuses what could have been a source of tension in the body of the film, namely the question of whether Sol would make it out of the camp alive.

These films give an aura of respectability and complexity to an otherwise disreputable genre, and Annihilation is basically Predator for people who think Predator is dumb, but without any of the qualities that actually make Predator good (structure, pacing, action, coherence).

With a collage of interviews with real - life survivors following the end of the film, it makes a strange shift from narrative feature to an almost documentary - like structure that just feels misplaced.

The sort of problem Sontag has with Jameson is, of course, the very argument Bordwell has with anyone from Slavoj Žižek to Jacques Lacan, evident in a comment he makes on his blog (but not in the book) that echoes directly Sontag's: «Most of FRT [Zizek's The Fright of Real Tears] offers standard film criticism, providing impressionistic readings of various [Krzysztof] Kieslowski films in regard to recurring themes, visual motifs, dramatic structures, borrowed philosophical concepts, and the like.»

This, ironically, makes the structure even more jarring as we follow certain characters for over half an hour and have them mostly abandoned for a good portion of the film before they either come back or remain left behind.

Vallee's filmmaking style is quite reminiscent of his previous films — and the techniques make sense within the structure of this script.

And to be clear, that's okay; what makes Phantom Thread so sticky is that what it's really about is not there on the surface; it's tucked away in the seams and lining of this rigorously designed and structured film — its phantom threads, so to speak.

LMD: The structure of the film is like a road movie in a way; with every stop the two make, Hee - su finds out more and more about Byung - woon.

British film director Steve McQueen's 2008 debut film, Hunger, is notable for many reasons: It is a great film, a great debut film, uses an innovative narrative structure, uses interesting cinematography in concert with its soundtrack, makes the best use of ambient sound to have the best non-musical soundtrack I've heard in a long time (if not ever), is the work of a black artist that is not obsessed with black only topics, and shows a maturity and grace that goes beyond even the first films of directors like David Gordon Green, in George Washington, and Terrence Malick, in Badlands.

When a Twitter user asked Landis why he thought the villagers in the original film didn't stop the werewolf themselves, the screenwriter revealed that he's exploring this detail in his script, and it will account for one of the biggest deviations from the original film: «Answering this question and the nature of the village's role in the plot in the second and third act as of now are the biggest changes I've made to the original structure... Doing some fun stuff.»

He professes delighted surprise that the 150 - minute film's unusual structure and complex subject have connected so broadly: its $ 1.35 million U.S. gross makes it by far the most publicly visible film in the field since three of the nominees have yet to be released Stateside.

The greatest problem with the film isn't as obvious as its bad writing and weak structure: it's that Queen of the Damned tries to make sense where none is to be made.

Owen and Roberts get to dish out some witty dialogue; develop a strange [and maybe false] relationship over the course of the film which is structured in both the past and the present — each arc developing chronologically until the very end, when there's a revelation that makes sense even as it dumbfounds.

The mystery of Shutter Island's structure is exorcised in this way and it never recaptures the sense of dread of its opening reels, making its last two hours something of an ordeal as everything that's aesthetically wonderful about the film is burned off in the crucible of its maddening inconsequence.

I was able to see La tortue rouge, I Am Not Your Negro (Raoul Peck, 2016), Moonlight (Barry Jenkins, 2016), Loving (Jeff Nichols, 2016), Nocturnal Animals, O.J: Made in America, and Arrival, all of which impressed me greatly and provided a structure for my «best films of 2016» list.

After finding a copy of the original script that included the initial structure online, Gelderblom loaded the film onto his computer, reassembled it along those lines (as he had no access to any previously deleted material, there is no additional footage in this version save for one repeated shot that was needed to help make a smoother transition between scenes at one point) and posted the results online.

The film is structured with a series of flashbacks and flashforwards, keeping the audience in doubt as to the exact chain of events until a chronology starts building up to a terrible end — this structure, standout performances from everyone involved, and an enormously effective soundscape combine to make this one of the most terrifying pictures about parenthood ever made.

Like life, the structure isn't straight - forward and the solutions aren't always pat, making White Oleander a surprisingly complex film for those who like to pick out the deconstruction of female archetypes.

At first this approach seems counter-intuitive for a movie filled with fantastic creatures, structures and situations, but it ends up being effective for that very reason: it makes you feel as though you're seeing a record of things that are actually happening, and it makes «Coco» feel gentle and unassuming even though it's a big, brash, loud film.

In a similar vein, «Fly on the Set» (21 minutes) is made up solely of behind - the - scenes footage, and shows the filming of certain scenes, but contains no interviews or overall structure.

Williams claims to have written the film over one weekend, and both the clamp - like tightness of its structure and the bracingly realistic progression of its characters — if you get hurt, you stay hurt — make that entirely believable.

The game does follow a fast - paced structure and even makes reference to the films plot from time to time, but other than those enjoyable bits it fails in eliciting even basic levels of excitement from players, which is a shame.

Citizen Kane's lasting influence on decades of film - making, from narrative structure to optical techniques to editing to sound, is undeniable.

Multiplayer pairs nicely with the basic structure of a slasher film, and it helps that it also makes a game less risky to produce and significantly easier to monetize.

The films she makes have a strong formal aesthetic and engage with the failures and power structures of language.

For four years Ortega Ayala has been visiting this derelict territory to obtain footage for a film that seeks to resurface (through first hand accounts of witnesses) an unprecedented event in our history where man - made technology went wrong and rendered uninhabitable a vast area that includes entire cities and monumental structures.

Yass's film interrogates this remarkable maritime structure from a range of different vantage points, making for a dizzying, vertiginous experience.

At the Baltic, he will be showing Site three new commissions made for the exhibition, and also the UK premiere of his new film, «Construction Site», an hour long video of workers on a beach erecting and dismantling a scaffold structure.

It is not translation per say that structures the work of Bethan Huws, rather it is the investigation of procedures of displacement and the search for origins in language that has led to her interest in translation as one of clearest ways of making them manifest (procedures of displacement and the search for origins are also found in her installations, in Scraped Floor, and in her readymades, watercolours, and films).

The newly completed film Black Drop (produced in association with Modern Art, Oxford and the Radcliffe Observatory, Oxford), unfolds in a 35 mm editing suite as an editor tries to bring structure and understanding to a varied array of material including: footage made on location in Hawaii and Tahiti on the occasion of the June 2012 transit of Venus, archive material, and ultimately footage of himself editing.