Sentences with phrase «through celluloid»

During one of her regular outings to see the film «The Purple Rose of Cairo,» Tom (a dashingly young Jeff Daniels), one of the film's leads, breaks through the celluloid fourth wall to enter Cecilia's life.

by Walter Chaw The danger is getting lost in fantasy, of being consumed by the lunar flame of lamplight filtered through celluloid.

Two - Lane Blacktop doesn't end with an accident, but with James Taylor's customized Chevy One - Fifty burning through the celluloid itself, dissolving into the white of an empty frame with the non-hopes of its coolly existentialist drag racer.

When Van Sant and writer Dustin lance Black arrived at Dan White's infamous «Twinkie Defense,» a palpable disgust for him and those who continue to speak homophobic speech and practice homophobic violence rippled through the celluloid.

For as socially awkward as they can be — at some points they come across as remarkably put together, all things considered, but other times their disaffection and ignorance of social norms shines blatantly through the celluloid — they are remarkably self - aware.

The down - and - out French population is grotesque to the point of zombification, and the scenery so filthy, you can practically smell it through the celluloid.

Not exact matches

Filmmaker Nicholas Jarecki offers a celluloid portrait of a cinematic mastermind at work in this documentary shot over an eight month period and following director James Toback through each phase of production of his 2004 thriller When Will I be Loved.

Unfortunately, neither ever proved to be as dependable as the filtering of present light through that moving strip of celluloid which projects past images and voices onto a screen.»

Romance is the prism through which identity and normalcy are redefined — a certain celluloid co-dependency that made 2002 (and 2001) the best years for film, and American film in particular, since the heyday of American cinema in the 1970s.

Shot with the Viper, the HiDef camera of choice among maverick filmmakers, Zodiac looks on the format like grainless celluloid, but not like celluloid that has fallen victim to DVNR; there were moments where I felt as if I was seeing things as they'd appear through a window onto the set.

I haven't seen a moment in another film from this year that achieves the kind of wary transcendence, through narrative and form (switching from celluloid to the digital of an iPhone), that so perfectly captures the allure of fantasy.

Looking at early dime novels that dished sensational stories about the shoot -»em - up, rough - ridin» ways of the West, celluloid epics that celebrated the image of the wholesome, white - hatted cowboy, and TV serials whose handsome heartthrobs trotted through the dusty streets of Kansas cowtowns, George - Warren demonstrates how the myth of the range evolved in the media, shrewdly exploring the gap between the image and the reality of the wild frontier.

In the room outside the chamber, where the soundman sat giving me cues through a headset, a restorer also sat peering at a screen and guiding a cursor with a mouse, diligently erasing celluloid scratches and blots, frame by digital frame, from the bare bodies of hippies cavorting in a mud puddle.

Direct films are created by manipulating the celluloid strip through physical actions and processes.

Kodak illustrates celluloid's ability to produce «a near perfect simulacrum of our visual world» in a series of stunning images that reflect elusiveness through both the subject and medium of film.

The resulting film, Empire, 1964, is a study as much in cinematographic looking as it is on the properties of film itself; though the image of the building at night is otherwise fixed, small dramas play out through exposure, the shifting of light over time, and the slight jumpiness of the image as the celluloid passes through the projector.

That's why the best artists today crave the graininess of actual film clicking through a projector, such as Tacita Dean, whose films resist the perfection of digital and mourn the physicality of celluloid.

West presents a selection of direct films, or films realized without the use of camera, made by manipulating the celluloid strip through physical actions and processes.