Sentences with phrase «white films alongside»

There were gorgeous black and white films alongside candy - coated pop pieces that made your eyes adjust to the saturated screen.

Not exact matches

Alongside the high jinks and moments of playful kitsch, the film includes explicit references to slavery and the legacy of white colonialism in Africa.

Otis at Monterey, with uncompressed stereo soundtracks Alternate soundtracks for all three films featuring 5.1 surround mixes by recording engineer Eddie Kramer, presented in DTS - HD Master Audio Two hours of performances not included in Monterey Pop, from the Association, Big Brother and the Holding Company, the Blues Project, Buffalo Springfield, the Paul Butterfield Blues Band, the Byrds, Country Joe and the Fish, the Electric Flag, the Grateful Dead, Jefferson Airplane, Al Kooper, the Mamas and the Papas, the Steve Miller Blues Band, Moby Grape, Laura Nyro, Quicksilver Messenger Service, Simon and Garfunkel, Tiny Tim, and the Who Audio commentaries from 2002 featuring Pennebaker, festival producer Lou Adler, and music critics Charles Shaar Murray and Peter Guralnick New interviews with Adler and Pennebaker Chiefs (1968), a short film by Richard Leacock, which played alongside Monterey Pop in theaters Interviews from 2002 with Adler and Pennebaker and with Phil Walden, Otis Redding's manager 1987 interview with Pete Townshend on Monterey and Jimi Hendrix Audio interviews with festival producer John Phillips, festival publicist Derek Taylor, and performers Cass Elliot and David Crosby Photo - essay by Elaine Mayes Festival scrapbook Trailers and radio spots PLUS: A book featuring essays by critics Michael Chaiken, Armond White, David Fricke, Barney Hoskyns, and Michael Lydon

Darkest Hour is a film of flummoxed old white men hollering at each other, a perfect foil to (and double - bill alongside) Christopher Nolan's Dunkirk, both because the two take place at about the same time during the early years of World War II — as Hitler's world domination began to take shape and an invasion of the UK imminent — and because they are entirely different experiences: Dunkirk is all action, while Joe Wright's film is all words.

It's a film that justifies repeated viewing, each time a new detail underlining its resonant depiction of love as an adventure, whether it be the pleasure of selecting a gift that will remind the other of an early encounter, or the frisson of difference represented by three white, perfectly scaled - down suitcases alongside a solitary, ordinary yellow one.

Luckily, the marriage of Martin Scorsese — the unofficial mafia whisperer in modern cinema — alongside Leonardo DiCaprio, Jack Nicholson, Matt Damon, Vera Farmiga, Martin Sheen, Alec Baldwin, and Mark Wahlberg, builds upon the strength of the original film by injecting gritty realism, eliminating somber black - and - white flashbacks, and providing a grim bookend that doesn't occur in the Hong Kong film.

The film sees Sam Mendes (Skyfall) directing Bond veterans Daniel Craig as James Bond, Rory Kinnear as Tanner, Ben Whishaw as Q, Naomie Harris as Eve Moneypenny, Ralph Fiennes as M and Jesper Christensen as Mr. White, alongside franchise newcomers Andrew Scott (Pride) as Denbigh, Lea Seydoux (Blue is the Warmest Colour) as Madeleine Swann, Dave Bautista (Guardians of the Galaxy) as Mr. Hinx, Monica Bellucci (The Sorcerer's Apprentice) as Lucia Sciarra, Stephanie Sigman (The Bridge) as Estrella and Christoph Waltz (Django Unchained) as Oberhauser.

He, alongside a bunch of other rich white folks who think that they know how to best serve our black or Latino children, recently produced a documentary film called

Inspired by classic group portraits throughout art history, she has taken black - and - white film photographs of the artistic crowd inhabiting Bushwick today, which will be exhibited alongside her photos of early Bushwick and Panero's writings on the neighborhood.

Turning the Whitechapel's Project Galleries into a magazine spread, Kambalu projects his black and white films of visual slapstick alongside his writings.

His vibrant, impressionistic style now gets its first solo presentation in New York, including a new black and white film inspired by the Harlem photographer Roy DeCarava, shown alongside his 2014 work m.A.A.d.

, Château Shatto revisits the first presentation of Cornell's film, converting it back to black and white and projecting in through a piece of blue glass, accompanied by the soundtrack of 78 rpm records playing alongside the film.

In his first New York City exhibition in 2009, titled The TV Show, PEET organized the concept around characters he coined «The Luxury Leaders» and «The Resistants» — symbolic metaphors for white - collar corporate America versus the anti-materialist, subcultural underbelly.3 Considering these fragmented story lines of rebellion and subversion, alongside the fact that the artist is sometimes positioned somewhere nearby covertly broadcasting an element of live feed into the gallery space, somehow it doesn't seem a stretch to imagine a grinning PEET tucked away in a dingy basement making human lard soap, à la Brad Pitt's nihilistic Tyler Durden from the 1999 film Fight Club.

The influence of the liquid metal T - 1000 character in James Cameron's film Terminator 2: Judgment Day (1991), to which Rae refers, can also be seen in the title and fluctuating black and white forms of Rae's contemporaneous painting Untitled (T1000) 1996, which was exhibited alongside Untitled (emergency room) at the Museum of Modern Art, Oxford, in 1996, as part of the group show About Vision: New British Painting in the 1990s.

Over 90 black and white photographs taken by Ute Klophaus, documenting eleven of the artist's «Aktion» works, will be shown alongside four of these iconic happenings on film.

THE WHITE ROSE (1967), his film of Jay DeFeo's iconic painting being laboriously removed from her San Francisco studio, is shown here alongside classics of Beat cinema by Wallace Berman, Robert Frank, and Ron Rice.

Alongside the series of A4 - size pages adorned with photographs and typewritten texts used by Kovanda to document his ephemeral actions, the walls of the gallery are covered with black - and - white photocopies of film stills, newspaper images, and artworks by Roman Signer, Marcel Duchamp, Chris Burden, and Vito Acconci, among many others.

In the middle of that decade, alongside La Monte Young, Marian Zazeela, John Cale, and others, Conrad performed in the storied Theatre of Eternal Music, which pioneered drone music in the West, and in 1966 he created The Flicker, a 30 - minute film that consisted only of alternating black and white frames.