Sentences with phrase «visual structure of the film»

The need to respond to our contemporary crisis shapes the visual structure of the film and whose origins spring from research into diverse historical narrative traditions within the Indian subcontinent.

Not exact matches

Stylized visuals add some spice, but they can not overcome the formulaic and obvious screenplay, which is of no help to a film that is structured as a mystery.

Formulaic, cheesy with its fluff and histrionics, - to the point of superficializing a sense of narrative weight, and inconsistent with its tone, pacing and overall structure, this film falls as a pretty forgettable war drama, flavored up by the decent visual style, worthy subject matter, lively direction and endearing performances which secure Jesse Hibbs» «To Hell and Back» as an almost thoroughly entertaining and sometimes effective, if ultimately underwhelming account of Audie Murphy's struggles as a farm boy - turned - military man.

This inspired an unexpected independent film of great visual beauty and unconventional structure which introduced western audiences to Indian culture and music and launched Renoir on a new international phase of his career.

As such, like another second - tier Marvel title before it, Guardians of the Galaxy, that allows for some deviation from the core Avengers films in terms of how things will look and sound, giving us a movie that feels organically different in visual design than most we've seen before, even if it still retains the same formula structure of the rest of the MCU features.

The sort of problem Sontag has with Jameson is, of course, the very argument Bordwell has with anyone from Slavoj Žižek to Jacques Lacan, evident in a comment he makes on his blog (but not in the book) that echoes directly Sontag's: «Most of FRT [Zizek's The Fright of Real Tears] offers standard film criticism, providing impressionistic readings of various [Krzysztof] Kieslowski films in regard to recurring themes, visual motifs, dramatic structures, borrowed philosophical concepts, and the like.»

One of this summer's most hyped films provides satisfying visuals and carnage amongst a familiar and formulaic structure.

Shot on 16 mm, with all the animation and visual effects being constructed in camera through multiple exposures, Beckman's films create narratives using the pedagogic and competitive structures of games.

Excluding the powerful visuals and narration of Resnais's original film, she deconstructs Eisler's soundtrack to draw from its structure the emotionally resonant spaces between sounds.

Images create structures of oppression in films as diverse as Todd Haynes» Safe (1995) and John Carpenter's They Live (1988), but what these films share above all is the pursuit of visual strategies for creating a disobedient, self - determined image.

Mark Themann (Germany / Australia) Go Into This Space presents an evocative single screen DVD work, a silent film that consists of phasing texts, interrupted by flashing color fields, and utilizing structures of invocation and evocation.Location One is a not - for - profit organization devoted to the convergence between visual, performing and digital arts in a time of rapidly changing technology.

All have thought seriously about the form of their work, and the three film - makers combine images from the past with more recent footage as a way of playing with conventional narrative and visual structures.

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.

His investigations into linguistic structures and visual systems have resulted in a wide body of work that includes books, films, videos, performances and audio works.

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.

Using visual subject matter that was wholly abstract, filmmakers could create works that, while occasionally interpreted as apolitical and «safe,» actually utilized complex structures and challenged viewers to reexamine the narrative basis — and in some cases the very materiality — of film.

3:00 p.m. Break (refreshments in Cullman Building mezzanine) 3:15 p.m. Melissa Ragona, Associate Professor of Visual Culture and Critical Theory at Carnegie Mellon UnderSound: Bruce Conner's Sonic Structures Ragona will address the idea of undersound as one of the major conceptual structures of Conner's sonic work across installation, sculpture, photography, cassette,Structures Ragona will address the idea of undersound as one of the major conceptual structures of Conner's sonic work across installation, sculpture, photography, cassette,structures of Conner's sonic work across installation, sculpture, photography, cassette, and film.

Collected images from various sources — advertisements, film stills, newspapers, postcards and exhibition catalogues — appear incarnated within the web of surreal visual connections that VanDerBeek weaves through her temporary structures.