Sentences with phrase «understanding film narratives»

Not exact matches

Jacobson's strong understanding of what makes a compelling narrative resonates with the authors and directors she teams up with on films.

The Iranian state has partly funded the film, most likely in an attempt to promote a Shiite understanding of the narrative of Muhammad's life.

The results deepen our understanding of how the brain functions, how narratives work in film, and memory mechanisms impaired by conditions such as Alzheimer's disease.

The film might feel aimless in spots, but as more layers of the narrative are peeled off, you understand just exactly how things came to be and how Wyeth, John and Dee might want revenge for what was done to their parents.

Compared to Steve McQueen's previous films, Hunger and Shame, the narrative style is conventional and straightforward, the director understanding that this history needs no embellishment, no interpretation, that just the raw telling of it will cut us to the quick.

Allan Cameron's Modular Narratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftenNarratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftennarratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they often resemble.

It is fine with me if there are two, ten, or a hundred cinemas, but I think we have to understand that the most important new movies will not be coming from the directors who make better and better films in conventional narrative modes, no matter how much we may admire and enjoy what they accomplish.

When you're watching a [narrative] feature film, you're often given bits of information at different times, not understanding [the whole story until the end].

But this narrative clarity is just as attributable to the editing of Jeffrey Ford and Matthew Schmidt, as well as the secret weapon directors Anthony and Joe Russo have always brought to their Marvel films: They understand intuitively how to structure a big blockbuster movie like a season of a TV show.

I must admit I haven't read the Max Brooks book that the film is based on, but I understand from friends who have that the tweaks in voice and narrative structure still result in a blast of a film.

There isn't a great deal of narrative as such: the film is structured largely as a series of conversational encounters between Sinan and various people whose attitudes test the limits of his callow understanding of the world.

Bagging on a film like this for not adhering to the standard filmic understanding of narrative seems to me like bagging on something like Leaves of Grass for not having a single coherent narrative.

That it messes with structure and medium is nothing new, but as with the casting of Downey Jr. and Monaghan as grammar - school classmates (even as it's commenting on Hollywood's treatment of women, it's guilty of it), as it's fucking with the way we look at film and understand narratives, it's indulging in the topsy - turvy, smart - alecky vogue of Guy Ritchie / Christopher Nolan chic.

But he hooks you in with the primary narrative — a play on Beauty and the Beast wherein the mute and the «asset» communicate wordlessly towards a deeper understanding of each other and the world in general — and he elevates his source material until the entire film coheres with an operatic swagger.

Many argued the necessity of a second viewing to truly understand the dense plotting and heavy, detailed narrative that dominated the two - hour plus film.

If these costumed super heroes are truly the gods of our time and the films that they are in each summer are our contemporary mythological canon, then these films should reflect our current understanding of each other, including visual representation of women and minorities, instead of parading out old narrative tropes and stereotypes as if they were steadfast truths.

Set in Gillan's own hometown of Inverness, the film uses the tragic history of the Scottish Highlands (which has the highest suicide rate in the U.K.) to spin out an intimate coming of age tale, bolstered by Gillan's dark sense of humor and a firm understanding of how to play with narrative conventions.

Far from a series of empty stylistic flourishes and unrestrained fanboyism, Kill Bill demonstrates a keen understanding of narrative and character development — a reminder of why it is that Tarantino is possibly the most influential American director of the last decade on the strength of just four films.

(The mad rush to get infographics online that explain the various «levels» within the narrative is a little unnecessary, as the film should be understood by anyone paying attention.)

This is a film of labyrinthine storytelling and cinematic weaves of character and narrative that stretch across countries and time itself, rewinding for elaborate flashbacks that redefine everything we know and understand, and of compassionate insight into human nature and the contradictions that define us.

While even the most well - executed 3D narrative films have hardly depended on the gimmick for anything more than bonus effect, 3D actively enhances the audience's understanding of the subject in «Pina,» where movement patterns and spatial deconstruction in the late Pina Bausch's choreography are brought to the fore, replicating the immediacy and interactivity of live performance.

I just hope that Rockstar stick to their guns on this one, and I am hoping that their choice to bring the game in - house and drop Remedy as the games key developer is a wise decision, as Remedy's game style is very distinctive and they seem to understand fully how a film noir narrative needs to be portrayed in video games (can you tell I haven't played LA Noir yet).

Gestures of cultural understanding are performed by a number of artists whose images reveal complex narratives: Kent Monkman's alter ego Miss Chief Eagle Testickle reclaims a controversial headdress; Aida Muluneh speaks to the struggles and achievements of the African diaspora across history; and Caroline Monnet's scene of women in the film industry highlights an emerging sense of power and self - determination.

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.

The video exhibited in ABOUT - FACE is titled Nước (Water / Homeland), and is an experimental narrative short film about a queer Vietnamese American teen who attempts to piece together and understand their mom's experience as a Vietnam War refugee.

What began simply in his youth necessitated by a desire to manage a seemingly endless amount of resources, questions and life information, has continued as a grand narrative into adult life, pulling in a deepening understanding of life's thematic complexities, current events and existential conundrums which have come to form the complex narrative basis for Hancock's paintings, drawings, murals, theatrical performances and film.