Sentences with phrase «white film class»

Not exact matches

This DVD contains five short films that are full of thought - provoking questions for white, middle class, young professionals.

1989 was the same summer that Spike Lee's race - relations film, DO THE RIGHT THING came out, I had just read Malcolm X's Autobiography for a class, my IVCF chapter was more and more seeking to explore the implications of «multi-ethnicity» for campus ministry, and as a college radio DJ I had been exposed to more of the best rap than most white suburbanites — that is, a number of threads came together for me at that time to allow me to be a right - on - the - sidelines spectator of the rap youth culture phenomenon.

Battinelli started his photo journey in 1995 when his father, an amateur hobbyist photographer, bought him a Pentax P30T 35 mm black and white film camera for Christmas so that he could take photography classes in high school at Peru Central School.

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Though a child of the colonial civil servant caste, Denis is by sentiment and inclination one of the last viable working - class filmmakers in the white - collar west, and so it is only appropriate that her film should be capped off with an appearance by Depardieu, the hulking star of Maurice Pialat's Loulou (1980), that bruising film of interclass love.

Telling the tale of a real - life botched heist by a band of upper - middle class white college guys, director Bart Layton (in his feature debut) injects his film with interviews of the film's real - life protagonists, to an overwhelming degree.

What results is a kind of photographic negative of the comparably more pastel - hued Annie Hall, a mellow, grayscale romantic melodrama with a liberal dosage of one - liners that would be taken for chemical impurities if the film weren't also manifestly abstracted by Gordon Willis's world - class black - and - white cinematography.

Emmerich has defended his choice of casting a white, middle class hero after the film was accused of «whitewashing» and «trans - erasure»

But the most infuriating aspect of Martin's film is how mindlessly it considers any of its potential themes relating to class, race, gender, or even the white - bred masculinity that's flexed in every dreadful scene.

This is a convincing and emotionally honest film about a specific kind of adolescence: bratty, confused, middle - middle class, white, female, pretentious, and ultimately kindhearted.

You know, I'd trained, the first things I'd ever made in my film class were in black - and - white 16 mm, so there's echoes of that training to expose film, print film — I'd studied all of Ansel Adams's technical manuals, The Camera, The Negative, The Print.

Middle - class, middle - aged white men don't come at all well out of Swedish director Ruben Östlund's recent films.

Samantha is, to some extent, the best possible version of the decent, liberal but unavoidably white, middle - class woman, and a patient, inspirational teacher too — but it is Jasmine who, by being so completely herself, makes the film's most important point: No matter how good your intentions, «rescue» is not ever really yours to give.

The film stars Jeremy Irvine (War Horse), Jonny Beauchamp («Penny Dreadful»), Caleb Landry Jones (X-Men: First Class), Joey King (White House Down) up - and - comers Karl Glusman, Vlademir Alexis, and Alexandre Nachi as well as veteran actor Matt Craven, with Jonathan Rhys Meyers (Match Point, «The Tudors») and Ron Perlman (Hellboy).

The film opens as the interracial couple are getting ready to travel up to her family home in a lily - white, upper - middle - class enclave.

Additionally, its nuanced critique of embedded racism in the Obama - voting, white upper class can be unpacked for days, as can the film's take on justified - or - not black paranoia.

In this instalment of Flickering Myth's Film Class, Tom Jolliffe looks at intentional use of colours in film... When it was discovered that film stock could have colour painted onto it, though painstaking and meticulous, it opened up a new dimension in cinema, previously locked into black, white and grey.

Additionally, White imbues his film with an added layer of surrealness with occasional cutaways to fantasy sequences; and while the use of voiceover narration is arguably on - the - nose, it does nudge the film closer into earnest territory and further away from conceited, navel - gazing white middle - class fWhite imbues his film with an added layer of surrealness with occasional cutaways to fantasy sequences; and while the use of voiceover narration is arguably on - the - nose, it does nudge the film closer into earnest territory and further away from conceited, navel - gazing white middle - class fwhite middle - class folly.

Plenty outside of Ford give insight throughout the documentary, too, including former racing driver and current broadcaster Justin Bell, himself a GT - class Le Mans winner, and Larry Holt, Vice President of Multimatic Engineering — a man who Raj Nair calls in the film a «mad scientist,» and whose curly, disheveled white hair does little to dispel the notion.