Like the director's lens itself, they are the repository of this story--all the way through the startlingly abbreviated Passion sequence (abbreviated because she misses much of it, which allows the film, wisely, not to have to treat a sequence that has been filmically
done to death, but instead to keep its focus on her) all the way to a (characteristically unsensational) resurrection appearance outside the empty tomb.
"Now you can be creative in different ways - visually, filmically
or through music - which I think is important.
Anyway, to make it slightly watchable they've shoved them all on a Hampshire farm so that the obligatory Arg (see tonight on Channel 4's The Jump) can filmically
chase turkeys around and not-so-slim pin-up Jennifer Ellison can act like she's a milk maid.
Martin added: "There are a few things I think could be exciting either filmically
or dramatically about the Easter Rising, or the War of Independence or the Irish Civil War."
Operatic highlights for me ranged from the pretty and resourceful Handel Acis and Galatea, a MidWales Opera production I caught at Hereford's welcoming Courtyard, to the expressionistic, filmically
gripping Boulevard Solitude by Hans Werner Henze from Welsh National Opera.
Within a structure that emphasises the company in most shots, infrequent close-ups edited filmically
into the action bear much more weight, and appear to carry more directorial intention, than in a conventional camera rhythm of establishing shots, two shots, reaction shots and so on.
''Oculus'' becomes filmically
sophisticated, juggling real past events, real current events and past and present hallucinations, all seamlessly, but better than seamlessly -- with an emotional logic that adheres to no set pattern, just an unerring intuition.
I think whether you like it or not, right is right filmically
and I like it because actually it's one of the ways in which you can get readers to move fast with you because they're used to the conventions of film.
Both narratively and filmically
, Goury treats these letters as existential traces of a father who he never met, pieces of paper he handled, bearing lines of words that, though incomprehensible to him, represent a regularity quite at odds with his own experience of the man.
The construction of spatial discourses and social identity in 1990s Chinese urban cinema has been thoroughly explored in Linda Chiu-Han Lai's "Whither the Walker Goes: Spatial Practices and Negative Poetics in 1990s Chinese Urban Cinema." Also seeking a mid-level understanding of how social spaces are filmically
represented, Lai adopts "the term heterotopia (to) guard against rushed generalizations of a new China born by rapid changes." (16) Heterotopia acts for Lai as an interpretive framework that illuminates how the Chinese urban environment is "a single space with multiple orderings, encounters, cores and planes ...
In this essay, I consider the result of building a Hamlet adaptation around Gertrude and evaluate how Wan's character revises this most filmically
marginalized of Shakespeare's women.