cinematographically


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cin·e·ma·tog·ra·phy

 (sĭn′ə-mə-tŏg′rə-fē)
n.
The art or technique of movie photography, including both the shooting and the processing of the image.

cin′e·mat′o·graph′ic (-măt′ə-grăf′ĭk) adj.
cin′e·mat′o·graph′i·cal·ly adv.
Translations

cinematographically

[ˌsɪnɪˌmætəˈgræfɪklɪ] advcinematograficamente
References in periodicals archive ?
In my second section, I then examine the way in which Rome's material changes are absorbed and worked through cinematographically in Fellini's Toby Dammit and Roma, before moving, in the third section, to an analysis of Pasolini's Petrolio.
Cinematographically, this effect is achieved by means of a fade-in, which, notably, occurs at no other point during the film.
This relationship is established cinematographically, as long shots linger over the scenery so that setting becomes subject.
The liquid accumulation of references ends up being conglomerated in the timeless image of the floating boat on a borderless infinite sea, synthesizing visually what the film has been expressing cinematographically, and adding a touch of hope and of mythical regeneration to the general dystopian panorama.
Cinematographically, the depiction of the arid yet lustrous landscape of North Africa never ceases to amaze and duly serves the purpose of reflecting the two different psyches of these men, who are haunted by the past and uncertain of the future.
Cinematographically, this film reflects Chinese popular cinema's comfortable attitude toward the assimilation of a Western postfeminist visuality by offering chic costume design and a glamourouscosmopolitanism.
Mental illness in India: a cinematographically review.
Cinematographically the opening sequences are a meditation on "revelation" with the camera constantly moving in and pulling back to reveal different aspects of the story, moving between the macro and the micro, with screens splitting off from one another, overlapping and fading into one another.
Cinematographically, that void motivates what many critics have described as the typical "slow pans of the landscape" (1177), which Michelle Raheja calls the "boring parts" (1178) and Jerry White dubs "narrative inefficiency that gives it a certain lyrical quality" (59).
Among the most cinematographically accomplished films in the competition, Watchtower also boasts what must be one of cinema's most dynamic childbirth scenes, and presents a rare and sympathetic portrait of a woman who feels alienated from her baby.
He cinematographically narrates the scene of the marching of armies, explains the battle fields, the panorama of areas in such way that reader feels his presence in the area.