Sentences with phrase «white filmed material»

And while the largely black on white filmed material doesn't lend itself to extended viewing, you do want a larger, clear view than afforded here (especially since the movie favors medium and long shots).

Not exact matches

Highlights from MediSeal will include the White - Line packaging and logistics concept, which instead of a country specific packaging materials and pack inserts is based on «white» (blank or unprinted) materials, where lidding films, boxes and inserts are not printed with the country specific information until they are in the packaging line and inspection and camera systems provide a 100 % check, guaranteeing pharmaceutical saWhite - Line packaging and logistics concept, which instead of a country specific packaging materials and pack inserts is based on «white» (blank or unprinted) materials, where lidding films, boxes and inserts are not printed with the country specific information until they are in the packaging line and inspection and camera systems provide a 100 % check, guaranteeing pharmaceutical sawhite» (blank or unprinted) materials, where lidding films, boxes and inserts are not printed with the country specific information until they are in the packaging line and inspection and camera systems provide a 100 % check, guaranteeing pharmaceutical safety.

For white and sparkling wine label materials, the challenge of condensation and exposure of labelled bottles to cold and wet environments in ice buckets and cold boxes is impacting film and paper choices.

Synopsis: Juliette Binoche delivers a luminous performance in the deliciously witty, sensuously romantic new film from acclaimed director Claire Denis (White Material).

After all, the 71 - year - old French auteur, whose film Beau Travail remains one of the great works of the last few decades, has taken an especially grim turn as of late, with movies like Bastards, White Material and The Intruder exploring some of the darker sides of contemporary humanity.

The film doesn't shy away from the horrors of slavery, yet the grim material is balanced with a deliciously dark sense of humour - just check out the scene with a band of white - sheeted vigilantes, acting as a precursor to the KKK, which is one of the funniest scenes Tarantino has ever written.

It's tough to call «White House Down» a quality film when considering the award - worthy material that's already hit theaters this year, but it's easy to dub it a quality summer film.

Juliette Binoche delivers a luminous performance in the deliciously witty, sensuously romantic new film from acclaimed director Claire Denis (White Material).

Studio marketing, perhaps sensitive to, or even altogether unaware of, the perils of thrusting an abusive, vengeful nerd before a cadre of white male geeks, sidelines Stan in the promotional material for the film:

White Materials Kurt [LIKED]-- A great title for an OK film that felt somewhat unfinished.

Bonus materials on the unrated Blu - ray release include audio commentary by Gaylyn Studlar, co-editor of Titanic: Anatomy of a Blockbuster; original 1912 newsreel; a White Star Line promotional film, offering a tour of the Olympic, Titanic's sister ship; and a theatrical trailer.

As for «White Material,» I understand your reservations — it's a punishingly oblique film that asks more questions than it answers.

(With the actress having also hit UK cinema screens this year in «White Material» and «Villa Amalia,» local critics are likely wondering when she sleeps: «Do the French have some kind of loyalty card system where Huppert gets a free meal every tenth film she does?»

When you've been doggedly championing a film for the better part of 18 months, as I have with Claire Denis's «White Material,» you do start to feel weirdly parental.

Regular readers will know that Claire Denis's «White Material» topped my list of last year's best films, and would have placed high in my end - of - decade list were it not officially a 2010 release.

I remember last year I saw Rabbit Hole, White Material, and The Illusionist in the midst of all the other heavy hitting Oscar films and now I hardly remember anything about those movies (although I generally liked all of them.)

In an interesting decision, director Alex Keshishian elects to shoot the half - dozen concert numbers (including «Express Yourself,» «Vogue» and «Live to Tell») in color while filming the backstage material in black - and - white — these behind - the - scenes vignettes include Madonna hanging out with her back - up singers and dancers, impatiently putting up with then - boyfriend Warren Beatty (who pretty much nails the movie's inadvertent theme when, after someone asks Madonna if she'd like to talk off - camera, he comments, «She doesn't want to live off - camera, much less talk.

Zwick's films tend to be more effective when they're avoiding his favorite white - man - saves - the - day narrative, and Fischer's difficult personality provides plenty of material for Maguire, who's due for a comeback.

A new film by French auteur Claire Denis (Beau Travail, 35 Shots of Rum, White Material) is always cause for great anticipation.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

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.

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.

The spectrum of the source material in the video is wide, from a screengrab announcing that Kanye is commissioning a Warhol portrait of Kim Kardashian, or my muse «Bobby Jesus» pointing out that Warhol was a Jesus Freak, or playing with my son, or a Spike Lee film still from Malcolm X showing his white girlfriend / partner in crime kissing his foot.

Mixing artifact with mythology, and history with invention, the project's wide - ranging material includes a 45 - minute film and still photographs from the forests of Oregon, to St. Petersburg and the White Sea in Russia; sculptures; topological maps; and site - specific framed works.

Stripping vintage lengths of 16 - and 35 - mm film of their emulsion and dissolving the murky material into clear acrylic paint which he then airbrushes onto canvas, Zilm collapses entire films — close - ups, slow pans, fast tracking shots, high angles, medium angles, reverses, zooms, aerial shots, encoded soundtracks — into mysterious black - and - white paintings that appear to be film stills in their own right.

Now able to draw down astonishing material from online sources, Leckey can paste together footage from NASA's early failed attempts to launch inflatable media satellites in space — the technology that would eventually lead to our hyper - connected reality — with grainy colour film of crazily empty new motorways and snatches of Harold Wilson's famous 1963 speech in which he described a Britain being forged in «the white heat of the technological revolution».

Installed in the middle of the Yokohama Museum of Art, Michael Landy's massive Art Bin (2014) was the exhibition centerpiece — matched in scale and exuberance by installations such as Miwa Yanagi's mobile stage truck, which provided a site for gravity - defying pole dancing performances, and Shinro Ohtake's wheeled shed assembled from scrap materials and photographs — but many of the other works were distinguished by intimate reserve, apparent, for example, in René Magritte's small, black - and - white photographs from the portfolio «The Fidelity of Images» (1935), and Melvin Moti's film No Show (2004), depicting an empty Hermitage Museum through a single image accompanied by a voice track.