Sentences with phrase «visual language of film»

Designed to teach students how to «read» the visual language of film, it is a project of the Film Foundation, established in 1990 by acclaimed filmmaker Martin Scorsese and fellow film directors Woody Allen, Robert Altman, Francis Ford Coppola, Clint Eastwood, Stanley Kubrick, George Lucas, Sydney Pollack, Robert Redford, and Steven Spielberg.

One gets the sense that some of the monotony is purposeful, but that can also make it easy to drift from the words — especially when the visual language of the film is so fascinating.

The mechanics of the music box, cylinder, metal elements and pins, enlarged and magnified to an industrial scale, remind us of the visual language of films such as Chaplin's Modern Times andFritz Lang's Metropolis, as well as the austere objectivity of German photographer Adolf Lazi's 1930's photographic series.

Not exact matches

Topics will range from thematic undercurrents and visual styles (I hope to show how the films develop a serious, even challenging visual language that both reflects and informs current traits of the modern blockbuster) and will also touch on more subtle or obscure details that deserve heightened focus.

But Billboards still speaks the language of film, with incredibly well - staged scenes and a great visual gag involving Officer Dixon (Sam Rockwell) and his music.

As Joon - ho Bong's (The Host, Mother) first English language film (and comic book adaptation), Snowpiercer brought the visual language of Korean cinema to a wider American audience before becoming a global hit.

Tags 2015 oscars 87th academy awards american sniper benedict cumberbatch bennett miller best actor best actress best adapted screenplay best animated feature best art direction best cinematography best costume design best director best documentary feature best film editing best foreign language film best makeup & hairstyling Best Original Score best original screenplay Best Original Song best picture best production design best sound editing best sound mixing best supporting actress best visual effect birdman birdman or (the unexpected virtue of ignorance) boyhood bradley cooper citizenfour eddie redmayne edward norton emma stone ethan hawke felicity jones finding vivian maier foxcatcher Ida into the woods j.k. simmons julianne moore last days of vietnam laura dern maleficent marion cotillard mark ruffalo meryl streep michael keaton morten tyldum mr. turner nightcrawler One Night oscar noms oscars reese witherspoon robert duvall rosamund pike selma steve carell still alice the grand budapest hotel the imitation game the salt of the earth the theory of everything Two Days Unbroken virunga whiplash wild

It's one of those films that doesn't age, as it contemplates timeless themes of identity and purpose, delivered through a mesmerizing visual language.

BEST SUPPORTING ACTOR: Sam Rockwell, «Three Billboards outside Ebbing, Missouri» BEST MAKEUP AND HAIRSTYLING: «Darkest Hour» (Kazuhiro Tsuji, David Malinowski, Lucy Sibbick) BEST COSTUME DESIGN: «Phantom Thread» (Mark Bridges) BEST DOCUMENTARY FEATURE: «Icarus» (Bryan Fogel, Dan Cogan) BEST SOUND EDITING: «Dunkirk» (Richard King, Alex Gibson) BEST SOUND MIXING: «Dunkirk» (Gregg Landaker, Gary A. Rizzo and Mark Weingarten) BEST PRODUCTION DESIGN: «The Shape of Water» (Paul D. Austerberry, Jeffrey A. Melvin, Shane Vieau) BEST FOREIGN LANGUAGE FILM: «A Fantastic Woman» from Chile BEST SUPPORTING ACTRESS: Allison Janney, «I, Tonya» BEST ANIMATED SHORT FILM: «Dear Basketball» (Kobe Bryant, Glen Keane) BEST ANIMATED FEATURE FILM: «Coco» (Lee Unkrich, Darla K. Anderson) BEST VISUAL EFFECTS: «Blade Runner 2049» (John Nelson, Gerd Nefzer, Paul Lambert and Richard R. Hoover) BEST FILM EDITING: «Dunkirk» (Lee Smith) BEST DOCUMENTARY SHORT: «Heaven Is a Traffic Jam on the 405» (Frank Stiefel) BEST LIVE ACTION SHORT: «The Silent Child» (Chris Overton, Rachel Shenton) BEST ADAPTED SCREENPLAY: «Call Me by Your Name» (James Ivory) BEST ORIGINAL SCREENPLAY: «Get Out» (Jordan Peele) BEST CINEMATOGRAPHY: «Blade Runner 2049» (Roger Deakins) BEST ORIGINAL SCORE: «The Shape of Water» (Alexandre Desplat) BEST ORIGINAL SONG: «Remember Me» from «Coco» BEST DIRECTING: Guillermo del Toro, «The Shape of Water» BEST ACTOR: Gary Oldman, «Darkest Hour» BEST ACTRESS: Frances McDormand, «Three Billboards outside Ebbing, Missouri» BEST PICTURE: «The Shape of Water» (Fox Searchlight Pictures)

In the opening shot of Skyfall, Roger Deakins» (The Assassination of Jesse James by the Coward Robert Ford, Shawshank Redemption) cinematography has established a very distinct visual language that doesn't exist in Bond films prior.

At the film's recent press day in Los Angeles, MoviesOnline sat down at a roundtable interview with Chazelle who discussed how he looked for ways to bring a contemporary language that was musical, visual and emotional to a genre that runs the risk of nostalgia.

Like many recent films based on well - known cult comics, director and co-writer Edgar Wright (Shaun of the Dead, Hot Fuzz) attempts to translate, quite literally, the images from the comics to the screen, with phonetic musical demonstrations (songs written by alt - rock fave, Beck), visual name tags for character introductions, and bleeped (visually) foul language.

However, although he was working hand in hand with the lenser of his new visual language (Oscar - winning cinematographer Robert Richardson has filmed every Tarantino film Kill Bill onward), Tarantino wasn't using a composer, instead he selected bits from previous film scores to «score» his films.

It's not Spielberg's best film of the 2010s (that, to me, would be Lincoln), but it's one of his best, and it weds its story and themes to surprisingly propulsive filmmaking that uses visual language to nicely set up the various social strata that Kay Graham ends up having to traverse in order to betray some of her closest friends and publish stories based on the Pentagon Papers.

Jarmusch wastes little time establishing the visual and metaphorical language of Only Lovers Left Alive, cutting back and forth between Adam and Eve in their disparate countries to establish their deep connection even when apart (a concept that pays off beautifully in the film's final scene).

Kurt obsesses about the visual queues in the film and Andrew contemplates Joseph Gordon - Levitt's adoption of Bruce Willis» body language.

Every craft is crucial to a film's success, yet cinematographers, or DPs (Directors of Photography), seem only to get their due credit on movies that call for a flashy, highly stylised visual language.

So the probability arises that Mamet wishes his films to be seen as a kind of populist avant - garde cinema, full of ideas about the role of language in visual text and in the interim disdaining the menial task of telling a story that has some semblance of respect for internal coherence.

But Jane Campion's wondrous, petal - delicate film not only finds a shimmering visual language that's wholly in sympathy with the great man's turn of phrase, but applies his poetry in a real - world context that never feels too precious or contrived.

Tags 2016 oscar predictions 2016 oscars beasts of no nation best actor best actress best adapted screenplay best animated film best cinematography best costume design best director best documentary best film editing best foreign language film best makeup & hairstyling Best Original Score best original screenplay Best Original Song best picture best production design best sound editing best sound mixing best supporting actor best supporting actress best visual effects bridge of spies brooklyn carol happy new year inside out mad max fury road oscar predictions room spotlight star wars the force awakens the big short the hateful eight the martian the revenant

Hammer is at her strongest when she's defying the male gaze, in such works as Multiple Orgasms (1976), a film that attempts to find a visual language for female pleasure, with moaning faces superimposed over images of caves.

For the stop - animation film Mr Sea (2014), Geng uses ceramics to craft a tale reminiscent of the stories found in the Qing Dynasty collection Strange Tales from Make - do Studio, merging narrative story with her exploration of the medium's visual language.

Albuquerque is an internationally renowned artist who, over the course of her 40 - year career, developed a strong visual language and an expansive body of work ranging from sculpture, poetry, painting, photography, film, and multi-media performance to ambitious site - specific ephemeral projects in remote locations around the globe.

Cánovas» seamless alternation between aspirational glamour and the visual language of the everyday is reminiscent of the flickering of a film reel, each image closely contemplated and carefully manipulated before it is reborn to the world.

Formally trained as a painter, Fudong has developed an extensive body of work comprised of videos, films, installations and photographs; consistently creating a visual language enveloped in a dream - like mystery.

At n.b.k., viewers will see an assembly of Farocki's film installations, each of which deal with the logics — or illogicalities — of cinema through the quoting and analyzing of visual language.

Visual art, film, and Surrealism are rivers in his work, yet it is Yau's dazzling imagination and singular command of language that create unforgettable poems.

The films of Toronto artist Oliver Husain consistently play with cinematic languages and visual codes.

The foundations of his unique visual language are clearly seen as his trajectory is traced through painting, architecture, photography, books and film.

Featuring some of the most impactful posters, printed matter, films and art from the Stedelijk's collection, including films by Russian directors like Sergei Eisenstein and Dziga Vertov, and posters in the new Constructivist visual language, the show highlights how crucial artists were to the communists» attempts to recreate society.

In this first collaborative work, visual artist, Alma Tischlerwood and film - maker, Alex Forsey investigate the notion of mapping and the evolving language of urban space by merging film projection with performative aspects of painting.

Victoria Eleanor Bradford is a choreographer and visual artist whose structured improvisations take shape as experimental dinner parties, site - specific dance films and dances translating words into a kind of gibberish performance language.

Victoria Eleanor Bradford is a Louisiana - born, Chicago - based choreographer and visual artist whose structured improvisations take shape as experimental dinner parties, site - specific dance films, football training manuals used as choreographic instruction, and dancers translating words into a kind of gibberish performance language.

The exhibition includes sculpture, installation and a film, which coalesce to consider the binary power structures of sadomasochism, ritual, authority and control, in order to reveal, through the artist's distinct visual language, how these roles are both symbolic and reversible.

Her films are marked by a unique sense of timelessness though they are underscored by a strong political concern, commenting on both social control as well as the innermost mechanisms of oral and visual language.

The panel, moderated by Alexandra Sachs, executive director of SCAD FASH Museum of Fashion + Film and Atlanta exhibitions, will explore how these three artists — who work in a range of media and formats from film and video, to painting and sculpture, to site specific wall drawing — utilize their research and experiences of place to inform their personal visual language and creative pursuits.

Mining a visual aesthetic reminiscent of German Expressionist film, with Three Sisters Bock develops his own language and artistic vocabulary to create an emotional and highly idiosyncratic world in which connections are made between language, the built environment, and the individuals who inhabit it.

Mickalene Thomas (b. 1971, Camden, New Jersey) uses the visual language of 1970s Blaxploitation films to reconsider the sexualization of the black woman in popular culture.

Vertical roll, black, neon and strobe light; dancers, musicians, computer language, television broadcast and satellite transmission form the visual and aural vernacular of his tapes and films, recently gathered under the title, Channel Mix.

Dr James Boaden, Lecturer in History of Art at the University of York, talks about the language of film, exploring the relationship between art and moving image, experimental film culture and visual communications.

All have an overriding visual language drawn from an audacious combination of Blaxploitation film and Renaissance art history.

Sarmento has developed a multi-media visual language — combining film, video, sound, painting, sculpture and installations — which often deals with issues of complex interpersonal relationships.

Informed by a research - based, interdisciplinary process, her artworks are often marked by a visual language poised between film and theater, and a series of narrative experiments oscillating between script and document, fragment and whole.

Photographic and film mediums are an integral part of this show, exploring the translation of political propaganda into a contemporary visual language.

Among the most successful of these is Paul Chan's short, two - channel film Teh Cat n Teh Owl (2014) at Greene Naftali, with its reference to the great French filmmaker Chris Marker dressed up in the visual language of virtual communication.