Sentences with phrase «works of cinema history»

If you only know the film from a few melodic snippets and one Austrian helicopter shot, clear an evening and sit down with one of the seminal works of cinema history.

Not exact matches

Even his most seminal work was met with criticism, though the stature of his place in cinema history has steadily grown with time.

Paul Schrader is an American filmmaker whose work as a screenwriter and director hold a significant place in the history of American cinema, including Taxi Driver, Raging Bull, American Gigolo, Mishima: A Life in Four...

It's the single best work she's ever done, and one that leaves her mark on the history of cinema forever.

Surrealist master Luis Bunuel is a towering figure in the world of cinema history, directing such groundbreaking works as Un Chien Andalou, Exterminating Angels, and That Obscure Object of Desire, yet his personal life was clouded in myth and paradox.

Without a doubt two of the most original filmmakers still working in Hollywood, the Coen Brothers speak in their voice, tell the stories they want to tell and all with flourishes befitting the finest filmmakers in the history of cinema.

In 2016, it was named one of 150 essential works in Canadian cinema history in a poll conducted by the Toronto International Film Festival (TIFF).

Her resume consists of critically and commercially acclaimed work including Steve Jobs, Little Children, Eternal Sunshine of the Spotless Mind, Iris, Titanic, and Sense and Sensibility, as well as a span of awards and honors that illustrate her talent and solidify her permanent place in cinema history.

The history of Australian cinema is littered with small - scale, unobtrusive and even intimate portraits of working and middle class life that are...

This ranks among Haynes» best work, confirming him yet again as one of the most valuable and idiosyncratic voices in the history of American cinema.

From his work on Dee Rees» Pariah, Andrew Dosunmu's Mother of George, DuVernay's Middle of Nowhere, and now this, only one inescapable conclusion can be reached: no D.P. in the history of cinema has shot black people more beautifully than Bradford Young.

But Bill Morrison's «Dawson City: Frozen Time» is a major work in any category, a historical spelunking expedition that dives into a long - buried trove of films discovered in a Canadian mining town and comes up with a conjoined history of the Gold Rush and American cinema.

Her resumé consists of critically and commercially acclaimed work as well as a span of awards and honors that illustrate Kate's talent and solidify her a permanent place in cinema history.

Frustration mounts as neither is able to pick up any acting work until, just as Greg seems ready to give up altogether, Tommy decides on a course of action that will forever change the history of cinema: why don't they make their own movie?

As the years went on and Wright continued to create equally wonderful cinematic gems in Hot Fuzz, The World's End and the criminally underseen and underrated Scott Pilgrim vs The World, Wright would further cement himself as one of the most imaginative and hilarious directors working not only today, but throughout the history of cinema.

Sure, some of the story beats and characters are familiar in the super-rigid superior district attorney (played by Alfred Molina), and the play - by - his - own - rules detective, but they've been proven to work over the course of cinema history.

Apart from Akira Kurosawa, Nagisa Oshima is plainly the greatest living Japanese filmmaker, but given that he despises the work of virtually all other Japanese directors, he seems quite unsuited to recount the history of his country's cinema.

A singular, iconoclastic artist and philosopher, Robert Bresson illuminates the history of cinema with a spiritual yet socially incisive body of work.

Cinema is not only the information contained on film strips (or DVDs or AVI files), or the specifiable work of filmmakers to achieve identifiable results, it is also what Alexander Kluge calls «the film in the spectator's head,» as well as histories and theories of what cinema is or can be.

He's chronicling our history, using his work to look at the growth of both our culture and our cinema.

She uses imagery culled from cinema and art history to create works in video, sculpture, painting, and drawing, which set up ambiguous juxtapositions of time and space.

In addition, Grasso uses imagery culled from the cinema and art history and, working in video, sculpture and, most recently, painting and drawing, he recreates phenomena — both human and natural — that set up surreal and ambiguous juxtapositions of time and space.

His work draws on varied sources, including philosophy, literature and early cinema to create intricate art works and spellbinding environments in which he explores theories of time and relativity, the history of colonialism and the aspirations and failures of revolutionary politics.

The parallel is that both works of art — Scorsese's Hugo and Dean's Film — look back on cinema history at a moment when new technologies are transforming what cinema is.

Often working with set designers, models and technicians, Williams» technically precise pictures recall Cold War era imagery and 1960s advertising, as well as invoking histories of art, photography and cinema.

The films shot in three cities, Istanbul, Warsaw and London bring together ancient and contemporary history, the history of cinema, science fiction, and are open to constant interpretations by the viewer as all of his work.

Douglas's work engages the distance between the histories of photography and of cinema, always in relation to the contemporary spectator.

This catalogue documents a two - part project that included an exhibition with works by Eadweard Muybridge and Jan Dibbets, together with a documentary created by Chris Dercon for Dutch television on the history and future of cinema.

Using cinema in an expanded form to reactivate lost or forgotten histories, they create new modes of collective engagement with contemporary thought through the creation of feature films, exhibitions, sound and video installations, performances, event - works, radio shows and books.

The title of a 1957 painting, Napoleon's Chest at Moscow (now destroyed), even showed a will to rival the French artist's somewhat ironical relationship with history, while another work from the same year was titled Patricia Owens, the name of a Canadian actress who had just left British cinema for Hollywood.

Functioning like movie theatre screens along the gallery walls, the works reference the history of cinema and black cultural production.

It draws on work made since 1968 for cinema, television and the gallery, reflecting the overlapping and entangled histories of these sites.

2007 LA CASA ENCENDIDA, CENTRE FOR CONTEMPORARY ARTS screening - retrospective various works, every Tuesday in September 2007, Madrid CINEMATEXAS, Austin, Texas Return of the Black Tower THE HORSE HOSPITAL, Bloomsbury, London Return of the Black Tower screened at the Book Launch of Subversion — the definitive history of underground Cinema CUBE CINEMA Double Dummy & Return of the Black Tower screened as part of OMSK IMAGES 20TH INTERNATIONAL MEDIA FESTIVAL TORONTO, Because of the War NEW YORK UNDERGROUND FILM FESTIVAL, Anthology Film Archives, The Truth and the Pleasure ANN ARBOUR 23RD INTERNATIONAL FILM FESTIVAL screens Because of the War and Sharony!

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

His work draws on varied sources, including philosophy, literature, and early cinema to create intricate artworks and spellbinding environments in which he explores theories of time and relativity, the history of colonialism and the aspirations and failures of revolutionary politics.

This traditional oral form inspired the region's cinema at its origins, as well as other modern narrative genres, and intersects in their work with archival footage assembled to represent contemporary history and engender new cultural forms of post-colonialisation.

Santos works with photography, video, sculpture and painting whose references go back to the history of cinema, and also thrives on media, advertising, appropriation, collage, found images and the current social situation.

Born in 1960 in Vancouver, Canada, Douglas is known for his films, photographs and installations that use new and outdated technologies, the media of cinema, TV and photography, the conventions of various Hollywood genres (including film noir and the Western) and reference classic literary works (notably, Samuel Beckett, Herman Melville, Joseph Conrad, Marcel Proust, and Franz Kafka), to examine intersections of history and memory in evocative, mesmerising artworks.

Other works on view include a suite of watercolors by Guo Hongwei, combining his renderings of American iconography with his father's calligraphy of Chinese classical poems; Chen Wei's staged photographs in the traditions of Gregory Crewdson and Cindy Sherman; a thick - imexhibitionso floral - patterned diptych by Liang Yuanwei, exhibitionsly featured in the Chinese pavilion at the 54th Biennale di Venezia; Cheng Ran's romantically staged photos of the Hollywood sign, commenting on the role cinema has played in shaping the image of America in the psyche of younger Chinese generations; the American premiere of Sun Xun's 21 Grams, a four - year long animation project reflecting on history, social struggles and dystopia; and Hu Xiangqian's Art Museum, a video presentation of the «collection» of Western artworks that have inspired the artist's creative language but that he's never seen in person or fully understood.

After studying literature and cinema, and then history of art, Almine Rech - Picasso worked for a modern art expert for three years.

Seeking a means of sharing his ground - breaking work, he invented the zoopraxiscope, a method of projecting animated versions of his photographs as short moving sequences, which anticipated subsequent developments in the history of cinema.

Widely published within the fields of art history, musicology, and cinema studies, Joseph's research focuses on those North America and European artists from the 1950s to the present day whose work has challenged or crossed traditional genre and disciplinary boundaries.

Their work invites suggestive, open - ended reflections on place and cinema and is «propelled by the artists» fascination with the open circuits of social life, memory, and history that sit just outside the frame of moving images.»

Barba's work investigates the fundamental properties of film, exploring cinema — its forms, histories, and technical apparatuses — and the material properties of celluloid.

Her work is informed by histories of narrative cinema and experimental film, but more precisely concerned with digital video, and in particular its contemporary heterogeneity as a medium used for navigation, advertising, knowledge organisation as well as cinematic special effects.

Though canonized in the history of cinema, Varda's work including installations, sculptures, and photography has been little - seen in New York.

Both bodies of works self - consciously engage the history of art and refer to popular culture as well, melding the drips, zips, and dots of mid-century abstraction with psychedelia and cinema's silver screen.