Sentences with phrase «white film images»

Not exact matches

«Because nothing says the press is keeping calm more than filming a car on an LA freeway,» Meyers said as an image of Simpson's infamous white Ford Bronco appeared on the screen.

In addition to interviewing leading legal scholars and activists, like Angela Davis, DuVernay said she reviewed about 1,000 hours of archival footage, including of images of lynchings, cellphone videos of police abuse, and The Birth of a Nation, the 1915 D.W. Griffith film that glorified the Ku Klux Klan (and was screened at the White House for President Woodrow Wilson).

Available in white or natural film, X-EnviroPouch comes with a choice of pouch sizes and a gloss or matt print finish to help maximise brand image and on - shelf impact.

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It's all wonderfully illustrated with red, white, and blue renderings of images from the film, like Opal surrounded by school buses.

Kaminski and Spielberg don't go all the way to black and white, but the 1.85 image (giving the film a more intimate scope than the expected epic 2.35:1) bleeds the bright colors down to the green - and - brown elements and overcasts the smoky skies.

Illustrated by astounding color and black - and - white images, the book presents the best of this mind - bending genre, detailing through insightful commentary and behind - the - scenes stories why each film remains essential viewing.

One of the film's strategies is to pair the voice of Samuel L. Jackson intoning selections from Baldwin's writing with relevant images salvaged from American history, including segments that highlight the white supremacy encoded in Hollywood narratives.

The film begins with black - and - white newsreel footage of the war's end, cutting to a similarly toned image of Elizabeth's observant face.

To start, the film repeats the image of the black man as a brute preying on white women.

The following short excerpt from this supplement is particularly remarkable for being in color (much of the footage is in black and white, like the film itself), which lends an entirely new perspective on some classic images.

The film is handsomely mounted and Lewin uses an interesting cinematic device to great effect: he cuts to full color when the new portrait is first unveiled and when the aged, diseased image of Dorian is revealed after his descent into depravity, which provides a visual shock to the black and white drama and enhances to horror of the grotesque mutation of the painting.

He also spoke eloquently on how the image of the tragic black hero, or the flawless black hero, reflects the culture's problem with processing a marginal community as just a group of human beings, and why he didn't want the characters, white and black, in his film to be easily categorized or glibly understood.

New to this disc is the four - minute «In Walt's Words: Snow White and the Seven Dwarfs,» an audio - only interview with Walt Disney discussing the film set to an image track, the seven - minute featurette «Iconography» that explores the film's influences on popular culture, art, and fashion, «@DisneyAnimation: Designing Disney's First Princess» with four contemporary animators discussing the design of Snow White, and an «Alternate Sequence: The Prince Meets Snow White,» plus the breezy promo - style pieces «The Fairest Facts of Them All: 7 Facts You May Now Know About Snow White» with Disney Channel star Sofia Carson and the rap retelling «Snow White in Seventy Seconds.»

This Blu - Ray Dual Format edition from The Criterion Collection boasts a truly beautiful black and white image, with authentic natural film grain, surprisingly good fine object detail, and very little scratches or other anomalies.

The Blu - ray's menu moves around the cover image and two more suggestive publicity photos while playing Kitty White's night club version of «Rather Have the Blues», an original tune Nat King Cole sings over the radio in the film's opening sequence.

Here's the full list of 142 films that featured on our contributors» ballots: (Disclaimer: Luc Besson's Lucy didn't get a single vote - I just like this image of Scarlett sorting through stuff) 71 1001 Grams 12 Years a Slave 20,000 Days on Earth 22 Jump Street 52 Tuesdays A Girl at my Door A Most Violent Year A Most Wanted Man A Touch of Sin Aberdeen Alleluia American Sniper Birdman Black Coal, Thin Ice Blind Blue Ruin Boyhood Calvary Captain America: The Winter Soldier Casa Grande Chef Citizenfour Climbing to Spring Cold in July Danger 5 Dawn of the Planet of the Apes Der Samurai Duke of Burgundy Edge of Tomorrow Electric Boogaloo Enemy Fandry Force Majeure Frank Free Fall From What is Before Giovanni's Island Gone Girl Goodbye to Language Guardians of the Galaxy Haemoo Han Gong - ju Hard to be a God Horse Money Housebound Ida Inherent Vice Interstellar It Follows Jauja Jigarthanda Jodorowsky's Dune John Wick Killers Lady Maiko Les Combattants Leviathan Li'l Quinquin Life Itself Like Father Like Son Locke Love and Terror on the Howling Plains of Nowhere Magical Girl Maidan Man From Reno Melbourne Memphis Mommy National Gallery New World Nightcrawler Norte, The End of History Nymphomaniac Of Good Report Only Lovers Left Alive Over Your Dead Body Pale Moon Peaky Blinders Pride R100 Red Army Seven Weeks Sils Maria Snowpiercer Song of the Sea Sorrow and Joy Spring Stand By Me Doraemon Starred Up Starry Eyes Stray Dogs Texas Chain Saw Massacre The Act of Killing The Babadook The Dam Keeper The Double The Editor The Grand Budapest Hotel The Great Beauty The Great Passage The Guest The Hobbit The Internet's Own Boy The Kingdom of Dreams and Madness The Lego Movie The Missing Picture The One I Love The Overnighters The Penguins of Madagascar The Raid 2 The Sacrament The Second Game The Secret Life of Walter Mitty The Snow White Murder Case The Tale of the Princess Kaguya The Terror Live The Tribe The Wind Rises The Wolf of Wall Street The Wonders The World of Kanako These Final Hours They Came Together Tokyo Tribe Tusk Two Days, One Night Under the Skin Wadjda We Are The Best!

After the usual rigamarole about shooting challenges and directorial perfectionism, someone asked Zhang Yimou what he thought the film was about, which he either answered honestly or deftly dodged by asserting that what he wanted people to take from the film, long after they've forgotten the plot, are the memories of certain images: two women in red fighting among swirling yellow leaves, two sorrowful men flying and dueling on a lake as still as a mirror, a sky of black arrows, a desert moonscape haunted by lonely figures in white.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening March 5, 2010 BIG BUDGET FILMS Alice in Wonderland (PG for fantasy, action, violence, scary images and smoking) Tim Burton directs this animated sequel to the Lewis Carroll children's classic revolving around now 19 year - old Alice's (Mia Wasikowska) return to the whimsical kingdom for a reunion with the White Rabbit (Michael Sheen) and other childhood friends, and to end the Red Queen's (Helena Bonham Carter) reign of terror.

Shot on a combo of 35 mm and 16 mm, the black and white Academy cropped image contains plenty of detail and contrast, even showing an adequate amount of film grain.

This slow - moving Iranian art film makes way for a non-stop display of impeccably gorgeous celluloid, black - and - white images dancing against a grainy hi - fi score that's in part Sergio Leone spaghetti Western and equally a rave scene.

Tellingly, one of the most moving — and visually dazzling — moments in the film is an image of an ageing, blind filmmaker fondling a giant display of old, pixellated black and white celluloid.

Shot in a stark black and white, with the actors repeatedly isolated in their own frames, some really creepy images of crazy nuns (the long early sequence wherein the nuns are interrogated and exorcised is a miniature masterpiece) and a series of subjective tracking shots implicating the audience in the chaos, the film reaches a high point when the priest consults the local rabbi (also played by Voit) in a series of head - on medium shots.

The film has some of the greatest black and white images ever filmed, dramatic lighting and sharp shadows, everything you think of as the noir style, only instead of an urban crime drama, it's used to powerful effect to create a nightmare of a fairy tale.

Garland seems to be going for something more poetic and mood - based, with images of Portman climbing into a scorched hole in a white, webbed room, and a burning lighthouse lingering long after the film ends.

Since the film does not begin with images of the crumbling twin towers themselves, it feels rather disconnected from the tragedy, until the very end, when Maysles» black - and - white footage is mixed with the color footage of the concert that was broadcast on television in October of that year.

In A Quiet Passion, it's the way the white light streams through the windows and onto Emily Dickinson (Cynthia Nixon), who became more and more of a recluse as she grew older, never experiencing that light except through a window (windows, after all, are key images in all of Davies» films).

There are some nice performances, and some pretty black and white images, but it's just not as good as other nostalgic films (American Graffiti) or films about Texas (Hud).

Foreign media pointed out that in a white straw hat, Yip Man was completely different from the image of Yip Man that has appeared in films before.

The film retains some minor print damage in its conversion to DVD, but the black - and - white image features lush contrast and excellent detail.

Black & white pencil illustrations evoke the flickering images of the silent films to which the book pays homage.

The exposed film is then developed chemically (similar to developing the negative of a black and white photograph) or digitally to get an image that is recognizable.

A defined colour scheme of white walls highlighted with lime green and red is the backdrop to a series of images of film stars.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenImages (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenimages of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

Originally shot in film it shows a sequence of pigeons flying in and out of the image frame; sometimes perched on its bottom edge for a moment, only to be pushed off by another bird; sometimes hurled into the white background.

Accompanying the critically acclaimed documentary, «I Am Not Your Negro» includes James Baldwin's notes for the project that inspired the film, published for the first time, and more than 40 black - and - white images from the film.

Stan Douglas's 1995 Der Sandmann, a nine minute, 16 mm black and white film uses two film projectors synchronized to play so that their film tracks repeatedly overlap images of events in the same location taking place at different times.

In this silk screened collage the artist juxtaposes rectangular found objects — a film reel, a museum ticket, cropped black and white images — with a looping scribble.

Simultaneously, he presents films / videos which look at the movement of people working, slides, or computer driven black and white abstract images floating through time.

While his teacher is noted for his black - and - white images, Epstein is a master of color photography, capturing on film the American experience as well as images from countries throughout the world — he has traveled extensively and realized series on locales including Vietnam, India, Berlin, and his hometown of Holyoke, Massachusetts, among others.

This is Rosebud, a sensual black - and - white film by Turner prize nominee James Richards that interweaves images of aroused flesh and censorship.

Marclay searched countless color and black - and - white films of various periods, culling from them images of clocks.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

The images in Mountains Without Faces are made by layering and shaping cut negatives and positives from my film archive over simple white ground.

This year's film pieces, incorporating many scraps of older films and documentaries, blurred images of black and white photographs, jerky animations and shaky sequences filmed under water, add up to almost two hours of screen time.

Fascinated by cinematography, film stills, edits and camera angles since childhood, Duffin recalls a love for black and white films on his parent's television set and the growing appeal of Film Noir: «It seemed to take all of the elements of image - making and stretch them further.

Over time, my production has evolved from black and white photographic portraits and narrative videos to creating hybrid «sites», images and installations employing photographs, videos and film, archives and found materials, projected sounds and reflective surfaces, works focusing on the individual's role in history and in time.

This reinterpretation of the classic image has involved Murdoch in a painstaking process of finding props, clothes and black and white stage make - up in order to produce a monochrome image on a colour film.