Sentences with phrase «white film uses»

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 his Film Paintings Zilm strips the emulsion from 8 mm, 16 mm, and 35 mm black and white films using a process he developed.

Not exact matches

I'm entering day 3 of this starter right now, using organic kale (with lots of good white film / dust) in lieu of the cabbage.

I still use film too but I have rolls of undeveloped film because I can't afford to get them developed at the moment or find time to go into the darkroom (I have got mostly black & white).

What does make sense is using White Helmets, supposedly independent but in fact group with proven links with jihadists, to film some shoddy films about rescuing people in chemical contaminated zone without equipment and without repercussions.

Rotwang's shock of unruly hair, white lab coat, and maniacal eyes made him the prototype for the mad movie scientist, while his black - gloved prosthetic hand became a motif used in many films, most notably in...

Two rounds of boiling and scrubbing did not remove the coating, which was visible as a white film on the pan and colander used.

Steven Spielberg crafted his landmark Holocaust story Schindler's List to look like a documentary, using black - and - white film to give it a newsreel authenticity and employing Steven Zaillian's straight - forward screenplay as a template that consistently rejects melodrama and lets the barbarity speak for itself.

It is unlikely — and was then illegal — that the slave knows how to read at all, or that the white would use a vocabulary highfalutin enough to confuse and anger adversaries (and draw cackles from the film audience).

An invaluable film that documents the flat - out lies and public deceits that the Bush regime (military, White House, and CIA) has used to subvert the fundamentals of the American institution of democracy and over 700 years of English law in its monomaniacal pursuit of «the bad guys.»

The basics have been well - publicized: The film, shot in black and white, is about a German Nazi who took over a factory in Poland during World War II and talked his powerful acquaintances into allowing him to use cheap labor, in the form of Jewish workers.

As before, Bujalski's preference for nonprofessional actors, his ear for the rhythms of conversation among bright young 20 - somethings and his adept use of a roving, hand - held camera (this time shooting in fuzzy black and white) lend the film an invigorating energy.

Also impressive is director Wenders» use of his and Lisa Rinzler's shoots in Assisi, black - and - white, deliberately faded and silent film, showing an actor playing St. Francis who at the key point in his life heard God tell him to restore a dilapidated church — which I believe he did thinking that God's will is more important than his father's rage at the saint's alleged throwing away his money.

When we hear Nixon (the film used his actual recordings) railing against the Post and telling an aide their reporters are to be banned from the White House, it's impossible not to imagine a president flailing about over «fake news» and demanding that reporters be fired for disagreeing with him.

He changed the ethnicity of the lead female character in Leonard's novel from the white Jackie Burke to a black Jackie Brown which allowed him to cast Pam Grier and reference her blaxploitation films «Foxy Brown» and «Coffy» as well as, employing the use of Bobby Womack's «Across 110th Street».

However, when we examine 2 of his latest films (white ribbon and cache), it seems to me what stands out is his ability to use the concept of mystery and show the viewer that in cinema, as in life, there are things beyond our understanding, and nihilism isn't so bad if you can accept that.

You could almost imagine the two films, or at least their heroes, figuring in the kind of good - natured, racial - stereotype humor that used to be a staple of stand - up comedy (and was memorably parodied on «The Simpsons»): «white guys abolish slavery like this» (pass constitutional amendment); «but black guys, they abolish slavery like this» (blow up plantation).

With the interesting ways this is shot, the texture and feel of this beautiful film and the use of black and white to bring out Johnson and Howard's performances was perpetually brilliant.

«Goodbye Solo» is reminiscent of the cinema verite of films like «The Bicycle Thief» and «The White Balloon», but the template that Bahrani and his screenwriter use, from Kiorastami's «A Taste of Cherry», seems in conflict with the natural direction the performers want to take the

With looks that allow him to either play soft - skinned pretty boys or greasy - haired white trash refuse, Sarsgaard has used his malleable features and brooding charisma to great effect in such films as Kimberly Peirce's Boys Don't Cry.A graduate of St. Louis» Washington University, where he was a co-founder of the improvisational group Mama's Pot Roast, Sarsgaard studied at the Actors» Studio in New York.

Though effused with shimmering and luscious black - and - white cinematography courtesy the great master James Wong Howe, the film gets bogged down in the complexities of its own narrative, thanks in large part to its use of extended flashbacks and flashbacks - within - flashbacks.

Their usual cinematographer, Roger Deakins, shot the film in color — they were contractually obligated to have a color version for overseas use — and then printed it on black and white stock, and the result is a deep, rich interplay between light and dark.

Black and white in 1967 was very rare, but for this film it works for an added effect that would later be used by Scorsese in raging Bull and Spielberg in Schindler's List.There is no color because this life is colorless.

It's not the most promising way to kick things off (Brewer uses it to illustrate the deadly, post-party car crash that incites the no - song - and - dance law in the film's setting of Bomont, Tennessee), but its poor impression doesn't last long, as Brewer makes quick work of establishing a liberal and plausible adolescent atmosphere in which Big & Rich can be listened to just after Wiz Khalifa, an antagonist is offhandedly chewed out for using the word «fag,» and the black students nearly outnumber the white students in the high school hallways.

In the film Mark Felt: The Man Who Brought Down the White House, Liam Neeson stars as the title figure, the FBI agent who used the nickname «Deep...

I could understand someone using the pseudo intellectual line on Michael Haneke's films, like The White Ribbon (even though I liked that one too), but I don't see that applying to A Serious Man.

Aside from the use of a mobile phone once or maybe twice, Philippe Garrel's new film could easily be taken directly from 60s New Wave cinema, complete with its use of black and white and, arguably, its somewhat tired view on infidelity.

The film was critically acclaimed and was recognized for its largely black and white color scheme which featured intermittent colored objects, akin to the same techniques used by Steven Spielberg in Schindler's List.

The silent film parts were black and white and they used an organ for the soundtrack.

The cinematography — thanks largely to the use of black & white — also contributes to the portrayal of Los Angeles» seedier elements, (but) essentially the film is of two people meeting and then having a prolonged conversation while wandering around.

From its first sequence, the film uses the horror genre's picaresque potential to explore the severe ups and downs of Sao Paolo: Clara, an African - Brazilian would - be nurse, interviews to nanny for a rich white woman who turns out to be a single mother - to - be, Ana.

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.

Similar to the way Baumbach's use of black and white in Frances Ha underscored the urbanness of New York, so too does Gerwig's switch to a «crunchier, inkier» film stock for Lady Bird's arrival in the Big Apple.

David Bordwell contends that Tarantino deliberately signals his sources to his audience, «in order to tease pop connoisseurs into a new level of engagement,» while Aaron C. Anderson writes that by using framing markers and calculatingly phony distancing devices (like, for example, the black - and - white process shots in Pulp Fiction), «Tarantino draws attention to his film's status as a film, as a constructed work of fiction, and as a «simulation.

The script is tight and manages to hold onto the same spirit that has held the black and white film in it's chosen place for so long thanks in part to Hughes's use of George Seaton as a co-writer I'm sure.

There's nothing new about Frances Ha; the plot's been done, the main character is a familiar type, and even Baumbach's use of black - and - white just makes Gerwig's New York look like a vintage Woody Allen film.

Films which seemed to be impressed by their high - profile literary and theatrical pedigrees were famously described by Manny Farber as «white elephant art», technically accomplished but fundamentally hollow spectacles, «films that do not actively use their visual register to produce meaning» (18).

«Welcome to Sherwood: The Story of The Adventures of Robin Hood» is an excellent making - of documentary that literally covers everything, using rare film clips from early Robin Hood versions, and fascinating outtake and 16 mm color / black & white behind - the - scenes footage (archived separately as well, with good commentary from Behlmer).

The black - and - white is put to a distinct use rather than just an aesthetic touch, and the film deftly avoids preaching and political correctness.

In it, author Lois Lowry, actors Jeff Bridges, Meryl Streep, Taylor Swift, Brenton Thwaites, Cameron Monaghan, Odeya Rush, Katie Holmes, and Emma Tremblay, producer Nikki Silver, screenwriters Robert B. Weide and Michael Mitnick, and director Phillip Noyce answer questions from a host and international journalists about the long journey to get the film made, the use of black and white, their experiences with the book, and shooting in South Africa.

Haneke, with the help of director of photography Darius Khondji (Se7en, Panic Room) and production designer Kevin Thompson (Michael Clayton, Igby Goes Down), makes excellent use of white hues and natural lighting (everything in this film seems to be WHwhite hues and natural lighting (everything in this film seems to be WHITEWHITE!)

Fox's intransigence simply pushed U.K. producers to use various CinemaScope clones that, combined with black - and - white film, achieved a mix of novelty and economy.

It's the kind of addled farce that lies at the heart of so much of Roth's fiction, and Perry's formal chops — he and cinematographer Sean Price Williams use 16 mm black - and - white film over cheap DV, and they favor piercing deep - focus shots over hazy, foregrounded compositions — visually approximate the careful construction of the author's language.

It's the only example I can remember of a Woody Allen film overtly nodding to its being a Woody Allen film — beyond, that is, the formulaic use of white - on - black opening titles.

Fox tried to encourage the diffusion of CinemaScope by making the use of its Bausch and Lomb lenses free for short films, but its policy of mandating the use of colour was poorly suited to the U.K. industry that mainly made black - and - white films including intimate dramas that were (at least initially) considered poorly suited to widescreen.

The horror components of the film are not particularly noteworthy, though the use of the animal masks is visually striking, especially in the way the red blood splatters over their harsh white as the arteries begin to open.

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.

There are felicities of design, from glimpses of the arcane world cuisine that Greg's dad experiments with, through the most appealing secondhand book - and - DVD store I've seen in a film for some time (for all I know, it's a real Pittsburgh store), to local touches like the use of that city's blue - and - white - tiled Buhl Building.

The color footage used in the film is primarily of Auschwitz in 1955, coming off as a ghost town of ghastliness; the older, black - and - white scenes are the ones inspiring anger and revulsion, showing in rapid succession the rise of the Third Reich, the building of the camps, and the atrocities committed therein.

Three years after the film exploded on contact, Chicago movie critics Gene Siskel and Roger Ebert used it on their popular TV show as Exhibit A for a serious discussion about why movies starring Black actors were mostly failing to find favour in white America.