Sentences with phrase «through film form»

Not exact matches

As an industry content leader, Participant annually produces up to six narrative feature films, five documentary films, three episodic television series, and more than 40 hours of digital short form programming, through its digital subsidiary SoulPancake — all aimed at entertainment that inspires social awareness and engaging audiences to participate in positive social change.

We experience Jesus» message through TV, film, music, dance, various forms of art and so many other elements of culture, so why not food?

In the case of flexible packaging, converting would be the process of utilizing films, foils and resins and through the process of lamination, forming them into a multilayer structure.

I'll be guiding you through all the necessary steps you'll need in order to film and submit your application form.

We fed the fruits of our research back to the Ministry of Health at the policy level; to public health staff, through training; and to the community in the form of manuals, community mobilisation leaflets, and films.

And if physicists set up the experiment with a photon detector at each slit, that is indeed what they see: Photons hurtle randomly through either the first slit or the second, which results in two separate clumps of dots forming on the film.

A low - pressure method, developed in the 1980s, forms a thin diamond film by shooting a current through carbon and hydrogen gases, but the results are impure.

As dendrites form inside the battery over time, they can reach the point where they push through the separator, a porous polymer film that prevents the positively charged part of a battery from touching the negatively charged part.

The pastes permeated through the meshes of the fabric and formed films of TE materials in a range of thickness of several hundreds of microns.

This forms a so - called transfer film between the low friction coating and the object through which surfaces can slide with the minimum of friction.

They showed that the lithium ions form a thin film on the surface of the graphene oxide and then diffuse through defect sites — essentially gaps in the layers of the material — before settling below the bottom layer of the graphene oxide.

In its true form, colloidal oatmeal is extremely fine, and through this fineness, colloidal oatmeal can form a very consistent, imprenetable film when applied as a mask to the face.

Peter Debruge of Variety also finds it to be a «lumbering, confused, and cacophonous mess,» but, while acknowledging that it's almost impossible to divorce the film from its production woes, Indiewire's Eric Kohn writes, «It's sloppy and amateurish in parts, but always reaching for something, often resulting in a fascinating half - formed beast working through a lot of baggage: a vanity project about the nature of vanity, centered around one of literature's most famous examples, in the context of the most famous vanity projects of all time coming to fruition.

Its jazzy rhythm and economy of form place it closer to a 1950s film noir, shot through with humor so dark you need a flashlight to see it.

Photographers will form flashing gauntlets through which many of the top stars and filmmakers in movies will stream on their way to premiering hotly anticipated films on screens that are less theaters than movie cathedrals.

As an industry content leader, Participant annually produces up to six narrative feature films, five documentary films, three episodic television series, and more than 40 hours of digital short form programming, through its digital subsidiary SoulPancake — all aimed at entertainment that inspires social awareness and engaging audiences to participate in positive social change.

William Shatner is clearly not an experienced director, but the pacing is fine and the enduring friendship between the central characters that forms the core of the film shines through.

Formed in 2001 by Cuban and Todd Wagner through their holding company 2929 Entertainment, Magnolia Pictures primarily distributes independent films and documentaries.

No, the explanation for Adaline Bowman's (Blake Lively) unchanging physical form is purely scientific — it's just that the science behind the phenomenon won't be discovered until 2035, according to the omniscient narrator who walks viewers through her unique condition in the film's opening scenes.

Hopefully it will find an audience on DVD and, appropriately, online, because Blackhat is a sublime merging of form and content, a film about the experience of living in our interconnected world on a psychological, political and philosophical level that conveys this experience beautifully through its narrative, stylistic and generic features.

Keane thanked Bryant, saying the short film has «a message for all of us — whatever form your dream may take, it's through passion and perseverance, that the impossible is possible.»

In a Hollywood self - congratulatory world that considers sequels, reboots and remakes as creative projects; and imitation as the most sincere form of flattery... not to mention the safest hedged bet... it's not in the least surprising that we now have a film version of «CHiPs», a lightweight and popular TV show that ran from 1977 through 1983.

Chanel will partner with Tribeca Enterprises for the third annual «Through Her Lens: The Tribeca Chanel Women's Filmmaker Program,» which works to support and promote emerging American women screenwriters and directors of short - form narrative film.

I'm not sure why I keep finding myself coming back to these films with the hopes of receiving some form of entertainment but they can occasionally manage to keep my attention occupied for the better part of a few hours, as Divergent did earlier this year with a well - paced run through its derivative, predictable, franchise - baiting plotline.

Beyond that, it may be the case that these directors just don't have much going for them aside from their images: that the texts of their films really are empty and the only way they have of expressing an artistic vision is through their images («form is substituted for theme»), that they are simply not complete auteurs in the sense Ford and Lang were.

Although the series lives on in shorter form, the final 20 minutes of Toy Story 3 is something of an emotional trip through the wringer (that is, if the film works as intended to the audience).

I still stare at it, amazed and entertained, but dwarfed by the very idea of attempting to untangle the crow's nest that has formed through the film's ever - expanding histories.

The opening images, unexplained and abstract, feel like something from «2001» as a glowing circle travels through the darkness, forming into an eye over the words «Film, film, film.»

It's a generic sci - fi vision, leagues away from the inhabited textures of Blade Runner, a film whose visual style served its melancholia through its very form.

is the leading media company dedicated to entertainment that inspires social awareness and engaging audiences to participate in positive social change, annually producing up to six narrative feature films, five documentary films, three episodic television series, and over 40 hours of digital short form programming through SoulPancake

Participant Media is the leading media company dedicated to entertainment that inspires social awareness and engaging audiences to participate in positive social change, annually producing up to six narrative feature films, five documentary films, three episodic television series, and over 40 hours of digital short form programming through SoulPancake.

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.

With his stringy dark hair, scraggly beard and lithe physique, he's in excellent form throughout the film, whether battling his way through imaginatively staged fight sequences or handling an impressive array of firearms and lethal blades.

It's a mind - boggling story, neatly told through archive footage, but the form constricts the film from adding much context or reflection.

In this debut feature film, director Pesce presents both story and form through understatement.

Most films that get this far must have some form of entertainment value and gone through multiple viewers before getting the green light, and while this one may not be for me, there's clearly some sort of audience out there that can appreciate it.

The film's only visceral excitement comes in the form of Superman pummeling his enemies through buildings, or saving the occasional falling person.

Beginning life as Maddin's interactive Seances project, in which the director channelled the spirits of lost silent movies through improvised live happenings, the film eschews traditional narrative form to instead seduce its audience through its poetic visuals, compelling ideas and inspiring performances from the likes of Charlotte Rampling, Geraldine Chaplin, Mathieu Almaric and Udo Keir.

Storylines threaded through the earlier films have been brought together to form the most climactic Marvel tale so far.

Here Steven Spielberg exhibits his mastery of the blockbuster (a film form he helped create) by elevating the source material through sheer craft and visual awe.

Reimagined in LEGO form and told in TT Games» signature classic LEGO humor, the thrilling adventure recreates unforgettable scenes and action sequences from the films, allowing fans to play through key moments and giving them the opportunity to fully explore the expansive grounds of Isla Nublar and Isla Sorna.

The Force Awakens comes alive in Minikit form when Lego Star Wars: The Force Awakens hits PC, Handheld devices, and consoles on June 28th, follow your favorite characters through the events of the film, as well as through never before seen content that covers the period of time between Return of the Jedi and The Force Awakens.

Presented through all of MUMA's recently designed galleries, the inaugural exhibition sees artists explore performative, media and event cultures, and the post-industrial architecture of the urban fringe, whilst others work with sound, light, sculpture, film, and painting in its diverse and expanded forms, offering a multi-sensory register of art and everyday life, from complex cultural perspectives.

He has established an international reputation through artworks that materialise in many different forms from sculpture to film, writing, graphic design, installation, performance and more besides.

Byrne's work, which explored the myth of the Loch Ness Monster through photography, film and installation, inspired pupils to search through their camera lenses for «monsters», disguised in the shapes of trees and natural forms in local woodland.

Performa: New Visual Art Performance presents an authoritative introduction to the genre, many forms including radio broadcast, dance, live installation, new technologies, film and video, music, historic reconstructions and lecture - as - performance, and provides a vivid tour through the world of contemporary performance, featuring inventive documentation of works by some of the most significant artists of our time, including Jesper Just, Francis Alys, Christian Marclay, Laurie Simmons, Tamy Ben - Tor, Melik Ohanian, Michael Smith, Christian Holstad, and Gelitin.

Paint lines left on transparent plastic film through a process of scratching away (as might be the case when creating the block for a woodcut print) reveal an abstract form and an obsession with materiality and process that eludes a clear concept — which is also a weakness of this body of work.

He has established an international reputation through artworks that materialize in many different forms from sculpture to film, writing, graphic design, installation, performance and more besides.

Iconic pieces of performance art from the past are known through documentation of the original performances, in the form of film, photographs, and written accounts.

Through conversation with artists from a variety of geographic locations we will consider a variety of questions, including: the relationship between animation and other media; contemporary artists» engagement with the histories of art and film; the role of music; the differences among various forms of animation; and animation's treatment of history, time, and place.