Not exact matches
The Rider Brady Jandreau, a Lakota cowboy from South Dakota, enacts a version
of his own harrowing story
of loss and recovery in writer - director Chloé Zhao's stunningly lyrical western, a seamless and deeply moving blend
of narrative and documentary
film techniques.
It is also Hitchcock's most innovative
film in terms
of narrative technique, discarding a linear story line in favor
of thematically related incidents, linked only by the powerful sense
of real time created by the lighting effects and the revolutionary ambient sound track.
«The Rider» is an achingly beautiful contemporary western and a fascinating blend
of narrative and documentary
film techniques, set among the Lakota cowboys
of South Dakota's Pine Ridge Indian Reservation.
Indeed, the notion
of these documentaries as belonging to a particular genre is challenged the most by French and Japanese
films that borrow
narrative techniques from their coinciding «new waves.»
Many
of the actors who portray her victims were allegedly unaware they were being
filmed, a
technique that adds to the voyeuristic bent
of the
narrative.
The scene also marks another abrupt
narrative and tonal leap in the
film's second half, and signals Bava's
technique of injecting some playful humour when he knew the structural cracks
of the script were starting to weaken.
Brady Jandreau, a Lakota cowboy from South Dakota, enacts a version
of his own harrowing story
of loss and recovery in writer - director Chloé Zhao's stunningly lyrical western, a seamless and deeply moving blend
of narrative and documentary
film techniques.
As in many
of De Palma's great wars
of will, there's just enough
of Christine reflected in Isabelle to trigger the aesthetic and
narrative techniques — visual doublings, doppelgangers, voyeurism, shifting identities — needed to ignite the stylistic formulations on which the
film hinges.
Incremental sacrifices
of agency in exchange for massive leaps forward in development
of authored
film - like
narrative technique is - in my opinion - just such an arms race.
Citizen Kane's lasting influence on decades
of film - making, from
narrative structure to optical
techniques to editing to sound, is undeniable.
The exhibition will be the first mid-career survey
of Miami - based video and
film artist Dara Friedman (b. 1968), best known for experimental, non -
narrative works that deconstruct the
techniques of conventional filmmaking.
Drawing on the use
of elliptical conversations in the 1961
film Last Year at Marienbad by Alain Resnais as a point
of departure, the exhibition features works
of art that utilize various cinematic conventions, such as editing, character development,
narrative, mise - en - scène and montage, to reveal how our understanding
of reality is often mediated by those very cinematic
techniques.
Using nonlinear
narratives and destabilizing in - camera
techniques, the
film depicts an Iranian woman's difficult attempts at connecting with American culture while simultaneously reconciling her Iranian identity, showing the double binds
of an intersectional identity.